Review by JJ December 9, 2009 (6 of 7 found this review helpful)
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For Handel, the organ was not one of his most favorite instruments, for as rightly underlines Michel Roubinet, “Besides the four concertos for organ and orchestra, he only composed specifically for the organ just one group of six fugues: that is very little for a composer who was particularly prolific and had had a solid education as an organist. Furthermore, the craftsmanship of the English organ was still far from that that had been attained on the continent, and most notably in his native Germany (the pedal would appear in England relatively late, first with coupled pedal, then much later played independently): the instrument at his disposal in his time must have seemed very insufficient.” Published in 1761, after the composer’s death, Opus 7 is here interpreted with a chamber organ. For the rest, the “Chaconnes” in F major HWV 485 and in G major HWV 442, as well as the “Fugue in G minor HWV 264 are played on the harpsichord. Richard Egarr and the Academy of Ancient Music repeat their performance of Opus 4 (see Opus HD N°40), and once again conjure us by an inventive and penetrating approach, wherein the music resonates as it does rarely in these works. Here is high quality wine that the multicanal perfectly transcends both musically and sonically.
Jean-Jacques Millo Translation Lawrence Schulman
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