Handel's Suite No. 2 in F major, HWV 427 is another four movement work
having an Adagio-Allegro-Adagio-Allegro(Fugue) sequence. Both Adagios are
quite sad with moments of beseeching and resignation, and both allow for an
improvisatory nature. The first Allegro has perpetual semiquavers, and the
Fugue is joyous and irresistable.
Blandine Verlet gives a great performance. Her Adagios are enticingly and
consistently stretching out for hope and possess a wealth of poignancy.
The Allegros sparkle with joy and happiness; I would have appreciated a
little more bounce and vitality, but it's a minor quibble.
Murray Perahia would be at Verlet's high level except for a very
soft 2nd movement which rarely gains much volume. Other than that,
I am very impressed. The 1st movement is gorgeous, interesting, and
well-proportioned, and the Fugue displays the exuberance lacking in the
1st movement. The second Adagio does have a little of the 'romantic' in
it, but Perahia never goes over reasonable boundaries.
Keith Jarrett gets the nod over Perahia with a 2nd movement of greater
animation. Jarrett is much better in this work than in the A major Suite.
His vitality is excellent, and he never overplays the legato he uses.
Overall, I like Jarrett's performance as much as Verlet's.
Bob van Asperen surpasses both Jarrett and Verlet. His 1st movement is
the most uplifting I know; his ornamented melody with plucked support from
below is absolutely stunning. The first allegro isn't just exuberant; it
seems electrified and sizzles in my body.
These versions have been most enjoyable, and Sophie Yates does not
disappoint. As in her A major performance, she continues with a high level
of vibrancy and joy when called on. The adagios are heart-felt and on the
optimistic side. This is a version that you just have to like.
Just as van Asperen gives transcendent readings of the first two movements
of the F major, Richter goes beyond with the last two movements. His
accenting is so incisive in the second adagio with a nobility to die for;
many times his tenderness is aching. Richter's fugue delivers the joy of
the piece, but it goes much further. The strength of the momentum is at
the peak, and nobody provides as much emotional breadth as Richter.
Alan Cuckston can't compare to Richter in strength or emotional matters,
but I love the sharpness, flow, and pure joy he conveys. It's a
performance that glows from start to finish with plenty of poignancy in
the adagios.
Anthony Newman and Paul Nicholson follow up their excellent A majors
with equally fine and vibrant F majors. Newman's second movement is
particularly memorable for its lightning speed handled perfectly.
Scott Ross performs very well, but there's nothing special here. Actually,
his second adagio may be the weakest of the eleven versions; it lacks
tenderness and comes off sounding too assertive.
Glenn Gould's allegros are fast and exciting, but I'm not convinced by his
adagios. He plucks his way through the first one, and I don't feel that
the notes have enough sustaining power.
Results for Suite No. 2 in F major:
1. van Asperen
1. Richter
1. Cuckston
4. Verlet
4. Nicholson
4. Jarrett
4. Yates
4. Newman
9. Perahia
10. Ross
10. Gould
What most surprises me at this point is how well Paul Nicholson is faring.
He displays excellent and vital rhythms. I'm not noticing at all any lack
of emotional depth or poignancy as indicated in most reviews.
For Suite No. 3 in D minor, we go back to nine versions as van Asperen and
Jarrett do not include the work on their disc; Richter continues instead of
Gavrilov.
Don Satz
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