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E. Power Biggs Plays Handel - The 16 Concertos And More

Power Biggs, E. (Wykonawca) Format: Płyta CD-Audio
4,0 4,0 z 5 gwiazdek Liczba ocen: 10
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Nowa od Używana od
Audio CD, Audiobook, 18 maja 2015
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Obecnie niedostępny.
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Opis produktu

E POWER BIGGS, orgue JOUE HAENDEL
Un panorama complet des enregistrements de l’organiste britannique Edward Power Biggs dont notamment, l’intégrale ici des 16 Concertos pour orgue de Haendel sur l’orgue de Warwickshire, sur lequel Haendel lui-même joua souvent : on peut ainsi vraiment parler d’instrument d’époque.
4CD

Szczegóły produktu

  • Oryginalna data premiery ‏ : ‎ 2015
  • Wycofane przez producenta ‏ : ‎ Nie
  • Wymiary produktu ‏ : ‎ 13,59 x 13,49 x 1,8 cm; 130,12 g
  • Etykieta ‏ : ‎ Sony Music Classical
  • ASIN ‏ : ‎ B00TQNMC7Q
  • Liczba płyt ‏ : ‎ 4
  • Recenzje klientów:
    4,0 4,0 z 5 gwiazdek Liczba ocen: 10

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Yousuf H. Alharthy
5,0 z 5 gwiazdek Great organist …fantastic recording…amazing performance….thanks Amazon
Opinia napisana w Stanach Zjednoczonych dnia 1 grudnia 2023
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Great organist …fantastic recording…amazing performance….thanks Amazon
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Alastair Whitelaw, Glasgow, Scotland
5,0 z 5 gwiazdek Sparkling, vintage Handel performances.
Opinia napisana w Wielkiej Brytanii dnia 19 czerwca 2015
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This collection represents another treasure from the Sony vaults (originally CBS, though the original LP version of the organ concerti was issued on Phillips in the UK) and excellent value, particularly at the price offered by some dealers. As usual in the Sony Masters series there is no booklet of notes. The organ concerto recordings date from 1957. The individual CD sleeves erroneously state the recording venue as “London”: In fact, the sessions with Boult and the LPO were in Great Packington Church, Warwickshire as were those for “The Magnificent Mr Handel” made over a decade later with Groves and the RPO.

The organ concerti are a reminder that, though typecast in his later years as a specialist in 19th and 20th century English music, Boult was in fact a great all-rounder with numerous premières to his credit. He also conducted baroque music, ranging through important Purcell revivals in his last years at the BBC, and various Bach and Handel commercial recordings. Biggs was a leader in the use of smaller organs for Bach and Handel interpretation and an important populariser of this repertory.

It’s important to understand the stylistic background of these performances. Present day “period performance” stalinists would probably dismiss them anyway, and even if they do listen to them I suspect would prefer some brisker tempi, more ornamentation, double dotting of the rhythm in the Ouverture to concerto no. 16, fewer string players (no vibrato of course), period wind instruments and no doubt a lower pitch (perhaps even manual pumping of the organ – see below). These recordings date from the 1950s growth of interest in the Baroque period and make use of modern orchestral forces, but are historically informed in that the interpretations are beautifully articulated and in no way romanticised or overblown. Trills are crisp and clean but there isn’t ornamentation apart from that. Yes, there is the occasional slight rallentando at the end of a fast movement and yes, there is some string vibrato. But above all these performances are brimming with a sense of enjoyment of the music, are great fun and a tribute to the performers’ good taste. There’s plenty of light and shade and a great sense of clarity. The two flutes and pizzicato lower strings in Organ Concerto no. 6 make for a lovely effect – I don’t know if the pizzicato is authentic. Tempi in these performances are well chosen, avoiding extremes and always maintaining a sense of momentum. Andante is taken, correctly, as meaning moving and none of the Largos is funereal. The organ concerti were written to entertain the audience during the intervals of oratorio performances – no doubt against a background of chatter – but are entertainment music of a high order and intended to show off Handel’s keyboard virtuosity (after all, he was noted for “uncommon brilliancy and command of finger”). No one told Baroque composers about authenticity: they were always rearranging their own music (and other composers’). Handel was a great recycler and some of these concerti or individual movements exist in other guises whether a recorder sonata, the harp concerto or a concerto grosso. (And Beecham plundered them for his entertaining Handel arrangements). This integral recording of the organ concerti stands the test of time as a thoroughly enjoyable set, even if you wouldn’t want to listen to more than a few concerti at one sitting. Biggs returned to Great Packington 12 years later, this time with Groves and the RPO. This single disc is a programme mostly of overtures and marches, with some slower items plus two additional concerti including “a due cori”. Again these are historically informed modern symphony orchestra, rather than “period performance”, readings; but none the worse for that and again, entirely suited to the character of the music. The only drawback is that it’s a selection of short items. Above all this fourth disc in the set celebrates Handel’s ceremonial style, and magnificent it is.

In his memoirs “My Own Trumpet” (Hamish Hamilton; 1973) Boult gives a charming description of the organ concerto recording sessions, worth quoting.
“ Early in 1957 I heard from an old friend in America, E. Power Biggs, one of their most brilliant organists who had, as a young man, played in “The Planets” with me in Boston. He said that he and his wife had been scouring Europe for the most suitable organ on which to record all the Handel Organ Concertos. They had decided that Great Packington Church, Warwickshire, had the best of all, and asked whether I could collect an orchestra for a week during the summer, and conduct the recordings. This delightful idea was welcomed not only by myself but by the London Philharmonic Orchestra, who provided the necessary strings, oboe, flute and horns. My wife and I decided to stay in Leamington for the week, but some of the orchestra took tents, and Lord Aylesford, and his son Lord Guernsey, who took a great interest in it all, gave permission for camping, even also for a cable to be laid across the park in order that electric blowing might be installed by Mr. Biggs.

“On Monday we began our series. Mr Biggs had discovered that the organ was exactly a semitone away from concert pitch, and there would be no difficulty in transposing. Unfortunately, it turned out to be a few vibrations under the semitone, and we spent a difficult afternoon trying to get our oboes into line. Americans are nothing if not thorough, and when the afternoon session finished I found that Mrs Biggs had already rung up Mr Mander the organ builder in London. Mr Mander was by now in his car coming to dismantle the organ and take it to London bodily, to be returned in time for our session on Wednesday morning. His factory was prepared to work all night.

“We had hardly begun our work on Wednesday before Mrs Biggs, who was acting as Recording Manager, drank a glass of milk which unfortunately contained a piece of tinfoil which caught in her throat, and she had to be rushed to Coventry Hospital for immediate examination. Meanwhile some slight fluctuations in pitch had made us suspicious about the power being brought to us over the new cable. It turned out that an electric stone crusher was stealing some of our juice, and so we had to readjust our sessions to late afternoons, 5 to 8 pm, and then 9 to midnight. .... We were able to finish our work on Sunday afternoon just in time, most of us having other engagements on Monday. We had expected to finish on Saturday at the very latest. Mrs Biggs proved a tower of strength throughout the sessions, and the success of the records shows how accurate was her ear and discerning her taste. Mr Biggs’ performances were all masterly.”
[Quoted by permission of the publisher.]
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David Durian
5,0 z 5 gwiazdek Nice remastering of this collection
Opinia napisana w Stanach Zjednoczonych dnia 12 października 2015
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This release of the recordings is quite nice. It appears to have been recently remastered, for as far as I know, the last time it was released was nearly 25 years ago, and that would have been in the 20 bit remaster era for Sony. This presents the old 3 box, 6 disc 6 eye stereo set from the late 1950s coupled with both volumes of the Magnificient Mr Handel, which was released on Columbia Masterworks label in 1970-1971. It sounds very nice--not overly hissy, and as the other review notes, some slight high and low roll-off for the concertos on discs 1-3, as was typical for some Columbia Masterworks masters of the era.
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Ray Carney
3,0 z 5 gwiazdek Not bad, considering the recording dates
Opinia napisana w Stanach Zjednoczonych dnia 8 października 2015
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Not bad, especially considering the fact that three of the disks were recorded in 1957, something I didn't realize when I ordered it. It goes without saying that the performance, stops and voicing, is stunning. E. Power Biggs is the gold standard in organ performance. I remember hearing him in person many times in my Cambridge Massachusetts youth. The sound is just a little rolled off on the bottom and extreme top, but as I said, not bad for the recording technology of the time. This issue must have been remastered recently, though there is no indication of that on the box or separate descriptions (and as is the case in all of these RCA re-issues, there is no booklet provided).
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AWCS J Hahn
5,0 z 5 gwiazdek E. Power Biggs delivers George Frederick Handel
Opinia napisana w Stanach Zjednoczonych dnia 13 czerwca 2017
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E. Power Biggs gave his usual outstanding performance demonstrating his mastery of the organ not only for music from J.S. Bach, but also Handel.
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