ECM New Series debut for Lisa Smirnova, playing Georg Friedrich Händel’s Eight Great Suites (1720), also known as “The Eight London Suites” or “Suites de Pièces pour le Clavecin”, major pieces in the keyboard literature, too rarely brought together on disc. The 1720 edition of suites (HWV 426-433), published by the composer himself, is amongst the most important collections of Handel’s early works. Handel’s early biographer John Mainwaring noted that the “fullness and activity of the inner parts” of these keyboard works ensures that “few persons are capable of doing them justice”. Smirnova who has worked extensively on the Eight Great Suites, rises comprehensively to the challenge, on the modern piano, in these recordings made at Schloss Goldegg in Austria.
Georg Friedrich Händel: Die Acht Grossen Suiten
Lisa Smirnova
- CD 1
- Suite No. 2 F Major HWV 427
-
- 2Allegro02:08
- 3Adagio01:44
- 4Allegro02:00
- Suite No. 8 F Minor HWV 433
- 5Prelude. Adagio01:50
- 6Allegro02:47
- 7Allemande03:13
- 8Courante01:35
- 9Gigue02:11
- Suite No. 4 E Minor HWV 429
- 10Allegro03:09
- 11Allemande02:15
- 12Courante02:04
- 13Sarabande04:39
- 14Gigue01:57
- Suite No. 5 E Major HWV 430
- 15Prelude01:38
- 16Allemande04:22
- 17Courante01:46
- 18Air - Double 1-503:49
- CD 2
- Suite No. 3 D Minor HWV 428
- 1Prelude. Presto01:13
- 2Allegro03:05
- 3Allemande03:44
- 4Courante01:43
- 5Air - Double 1-508:37
- 6Presto04:27
- Suite No. 6 F Sharp Minor HWV 431
- 7Prelude01:31
- 8Largo02:32
- 9Allegro02:00
- 10Gigue. Presto02:48
- Suite No. 1 A Major HWV 426
- 11Prelude01:50
- 12Allemande03:20
- 13Courante02:23
- 14Gigue03:01
- Suite No. 7 G Minor HWV 432
- 15Ouverture03:09
- 16Andante03:09
- 17Allegro01:32
- 18Sarabande02:47
- 19Gigue01:27
- 20Passacaille03:56
The 1720 edition of suites (HWV 426-433) is amongst the most important collections of Händel’s early works. Published by the composer himself, with the special authorization of George I, it includes works from both his Hamburg and English periods, all revised by Händel, right through the printing process.
If the rich diversity of Händel’s entire oeuvre has long since overshadowed his reputation as composer of keyboard works, in his lifetime Händel’s popularity as player-composer was second to none. As Uwe Schweikert observes in the liner notes, “In quantity alone Händel's Suites and the Six Fugues or Voluntarys do not brook comparison with Bach. But the number of prints and handwritten copies disseminated throughout the whole of Europe far exceeds those of Bach or Scarlatti, demonstrating the esteem that Händel's harpsichord music enjoyed among his contemporaries. In his day Händel was considered not only a master of Italian opera, English oratorio and organ improvisation, but also 'one of the very greatest masters in technique and keyboard performance'. The esteem accorded to Händel the harpsichord virtuoso was matched by the admiration bestowed on his compositions for this instrument.” Early Händel biographer John Mainwaring (1724-1807) noted that “Of his talents in composing for a single instrument, we need no better proofs than are given us in his Harpsichord-lessons. (…) Händel's have one disadvantage, owing entirely to their peculiar excellence. The surprising fullness and activity of the inner parts, increases the difficulty of playing them to so great a degree, that few persons are capable of doing them justice. Indeed, there appears to be more work in them than any one instrument should seem capable of dispatching.”
Lisa Smirnova rises to the challenge, on the modern piano. She had been working rigorously on the 8 Great Suites for five years prior to undertaking this recording – begun at Austria’s Schloss Goldegg in 2007 – making many discoveries along the way.
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