“[These suites] have rarely been recorded or promoted by harpsichordists during the most recent revival of interest in ‘early music.’” I realize that Richard Egarr is entitled to his own opinions—his liner notes on an earlier release, for example, likened the humor in Purcell’s harpsichord music to that of the wonderful old 1950s BBC comedy The Goon Show —but he’s not entitled to his own facts. Christopher Brodersen pointed out in a 2011 review of these works featuring Laurence Cummings ( Fanfare 34:5) that ArkivMusic listed nine complete sets played on the harpsichord, with several others on the piano. I find some of the suites have considerably more recordings than that, in 2014: 26 for the Suite in A Major, 28 for the Suite in D Minor, 25 for the Suite in E Minor, 47 for the Suite in E Major. If such numbers reflect rare recordings, I have to wonder what Egarr would consider a moderate number, let alone a frequent one.
Classical music is one of the greatest joys in life. Opera on the other hand, is often too melodramatic to stomach. But there is nothing more enchanting than an Aria. On this 2 CD set, Emma Kirkby sings in sweet exultation. Her voice expresses power and agility yet a limpid tranquility. Clarity is the greatest achievement of any musician. With the aid of precision accompaniment on period instruments, shameless perfection is delivered. She soothes the soul longing for beauty. Her marvelous Soprano is rendered on 25 tracks in this eclectic ensemble. If you are a champion of Handel or a devotee of Mozart, you should not hesitate to purchase this CD. Emma Kirkby will have you beaming with delight and pining for more. Surely it will be one of the brightest of your collection.
Steven Isserlis and Richard Egarr here assemble all the viola da gamba sonatas written by three composers born in the propitious year of 1685: one each by Handel and Domenico Scarlatti, and three by JS Bach. Isserlis plays them on the gamba’s modern cousin, the cello, and the microphone loves his playing, picking up all the nuances and scampering asides from his soft-spoken instrument which can sometimes get lost in big concert halls. Egarr on harpsichord matches Isserlis’s eloquence and rambunctious energy all the way. The dreamy, airy slow movement of Bach’s Sonata in G minor brings telling use of vibrato as Isserlis circles around Egarr, his playing at once idiomatic and soulful. An extra cellist reinforces the bass line in the Handel and Scarlatti, in which the composers give the harpsichordist only a framework; Egarr’s imaginative realisations ensure that even when Scarlatti is at his most repetitive, he is never dull.
I was definitely not prepared for the utter charm and simplicity of these wonderful songs, grouped together on disc for the first time. Lortzing's melodies are easy on the ear and the Neue Detmolder Liedertafel are a crack group of singers, injecting their own characteristic charm into the music. (…) You can't really put a plug on this one, listening over and over again always increases the enjoyment. Just go ahead and buy it!
From bar one, I felt an assurance and naturalness about the rhythms, a clarity and tonal richness in the orchestral and vocal texture, a stylishness of phrasing and embellishment, and a sheer zest and power of dramatic presentation that add up to a totally convincing and gripping whole. […] Neumann and his team have excelled themselves, and so has Handel, and anyone who thinks 18th-century music wanting in musico-dramatic force is urged to acquire this magnificent set without delay.
…Against the competition, this new German recording rates very high. It is certainly superior to Harnoncourt's heavily cut and somewhat mannered Teldec reissue.