In his liner notes, Andrew Manze writes that this collection, which includes two single movements--one slow, one fast--represents all of Handel's violin sonatas, but that no one is really sure how many of them he actually ... more »wrote. No matter; they all contain wonderful music and have been loved by players and listeners since they were written. Six are well known. Two are unfamiliar, and the second of these, in G major, is quite unlike all the others: two brilliant fast movements separated by a brief, highly dramatic slow recitative. The rest are cast in the customary four-movement form, but they still have extraordinary diversity; no two of them sound alike. Manze's program is arranged for utmost contrast, and his playing underlines the differences. He is a fabulous violinist with an effortless virtuoso technique and extraordinary bow control. He has at his disposal an incredible variety of articulation, dynamics, and nuance, which he uses to change mood, character, and expression with utmost subtlety and minimal means. He vibrates sparingly but to great tonal and emotional effect; his expressiveness ranges from driving vigor, exuberance, and headlong impetuosity to mournfulness, dramatic intensity, songful lyricism, and serenity. His rhythm is buoyant and flexible and he hesitates on certain significant upbeats in a way that is mischievous but not mannered; his tempi, fast and slow, are judicious and controlled. Both he and his pianist ornament lavishly and imaginatively in a wonderfully spontaneous, improvisatory fashion, especially in slow movements and repeats, often bursting into brilliant runs. This is "authentic" playing in every sense: faithful to the composer, the style, and the performers' passionate feeling for the music. --Edith Eisler« less
In his liner notes, Andrew Manze writes that this collection, which includes two single movements--one slow, one fast--represents all of Handel's violin sonatas, but that no one is really sure how many of them he actually wrote. No matter; they all contain wonderful music and have been loved by players and listeners since they were written. Six are well known. Two are unfamiliar, and the second of these, in G major, is quite unlike all the others: two brilliant fast movements separated by a brief, highly dramatic slow recitative. The rest are cast in the customary four-movement form, but they still have extraordinary diversity; no two of them sound alike. Manze's program is arranged for utmost contrast, and his playing underlines the differences. He is a fabulous violinist with an effortless virtuoso technique and extraordinary bow control. He has at his disposal an incredible variety of articulation, dynamics, and nuance, which he uses to change mood, character, and expression with utmost subtlety and minimal means. He vibrates sparingly but to great tonal and emotional effect; his expressiveness ranges from driving vigor, exuberance, and headlong impetuosity to mournfulness, dramatic intensity, songful lyricism, and serenity. His rhythm is buoyant and flexible and he hesitates on certain significant upbeats in a way that is mischievous but not mannered; his tempi, fast and slow, are judicious and controlled. Both he and his pianist ornament lavishly and imaginatively in a wonderfully spontaneous, improvisatory fashion, especially in slow movements and repeats, often bursting into brilliant runs. This is "authentic" playing in every sense: faithful to the composer, the style, and the performers' passionate feeling for the music. --Edith Eisler
CD Reviews
SCHOLARS NOT PEDANTS
DAVID BRYSON | Glossop Derbyshire England | 04/28/2005
(5 out of 5 stars)
"Andrew Manze writes nearly as well as he plays. The short essay he provides to accompany this disc is knowledgeable, clear and witty. Handel's instrumental music is a scholars' playground - he left, and very likely kept, no proper catalogue of it, and it falls to specialists to clarify as best they can which compositions going under his name are really his. What the artists here give us is 7 complete sonatas and one that is presumably complete, plus two stranded individual movements. Of the 8 'complete' efforts 5, including the presumed-complete G major, seem to be definitely by Handel. Two sets of 12 'violin' sonatas were published by one Walsh, one under his own name and the other under the pseudonym 'Roger'. The works they contain do not exactly match up, and I would have liked the contents of each plus the contents of this disc laid out as a table so as to be completely clear about the issue. The best piece of all, placed first in this recital, seems to belong in neither edition, and the most original and unusual, placed second, is of doubtful attribution.
The players' style is all-the-way authentic. Full details of the 18th century instruments, plus a fascinating picture of the violin-maker's workshop, are provided on pages 12-13 of the booklet, and Manze goes into the question of the proper constitution of the continuo or accompaniment. I found that I adapted to the sound of the violin within seconds. There's a fair amount of action-noise from the harpsichord, but authentic is authentic, so I adapted to that too. The playing seems to me beyond criticism, full of verve in the fast movements and soul in the slow, and the recorded sound is of the highest modern standard. The works themselves are beautiful and fascinating. I wonder in particular whether Handel wrote the first movement of the F major sonata, and if not who did. It is not only an exceptional piece but decades ahead of its time, as Manze rightly says.
The production is fairly de luxe, containing not only an expensively printed booklet but also a full colour catalogue of Harmonia Mundi's current offerings. The set has won critical acclaim, which I endorse wholeheartedly, and it can be recommended without qualification to all Handelians and indeed to the music-loving public generally."
Pure, beautiful tone!
DAVID BRYSON | 06/30/2004
(5 out of 5 stars)
"The beauty of simplicity. Such clear, beautiful, resonant tone.
(just listen to the first four notes of the F Major!)
It takes my breath away. What a great example of what the violin CAN sound like. His ornamental/improvisational ideas are great to listen to - he certainly isn't just regurgitating the same old Handel sonatas! A refreshingly different take on the sonatas. (I for one am not interested in hearing the same old interpretation one more time!). This is unique and amazing. I'd like to hear more classical artists add their own personal touch in the way that Andrew Manze can."
Unpleasant frenzy
DAVID BRYSON | 03/02/2002
(2 out of 5 stars)
"Andrew Manze is an amazing violinist. But he's too amazing for his own good. He doesn't know when to hold back. His frantic sawing of these sonatas is really unpleasant. Where it should be lyrical, he is frenetic. If he could just calm down he is capable of playing beautifully. But not here. A major disappointment."
Baroque and roll!
DAVID BRYSON | 02/12/2002
(5 out of 5 stars)
"if you've ever been put off by the "miniaturising" approach some times encountered in "authentic" performances, this is the perfect antidote. manze really lays into it where appropriate, but his tone can also fall to a whisper when required - and he's in total command of every shade between.
and don't be put off by the Edith Eisler review: his "pianist" is doing a fine job on the harpsichord!"
Track Listings (33) - Disc #1