Composer: Georg Frideric Handel
Works: Concerti Grossi Op. 6
Performers: Boyd Neel Orchestra, Arnold Goldsborough (harpsichord), Frederick Grinke (violin), David Martin (violin), Louis Willoughby (violin), James Whitehead (cello), Peter Bevan (cello)
Recording: Recorded 1936-1938
Label: DECCA
Georg Frideric Handel’s “Concerti Grossi Op. 6” represents a pivotal moment in the Baroque canon, synthesizing the influence of Italian compositional techniques with the emerging English style. Composed in the early 1730s, these concertos were released in a period where Handel was transitioning from opera to instrumental music, revealing an innovative exploration of orchestral texture and ensemble dynamics. The works epitomize the grandeur of the Baroque idiom while also showcasing intimate dialogues between the concertino and ripieno groups.
Boyd Neel’s ensemble, recorded between 1936 and 1938, offers a fascinating glimpse into early interpretations of these seminal works. The orchestra’s sound is robust and characterized by a warmth that feels both historically informed and romantically inclined. Neel’s approach is particularly noteworthy in “Op. 6 No. 1,” where he opts for a slower, more emphatic tempo compared to the leaner and more athletic interpretations of contemporaries like the Busch ensemble. This choice imparts a heavier texture to the strings, which can at times veer toward the ponderous, especially in the Larghetto, lasting nearly six minutes—a duration that risks straying into sluggishness, yet creates an immersive sonic landscape for the listener.
The technical prowess of the Boyd Neel Orchestra cannot be overlooked; the individual contributions of musicians such as Arnold Goldsborough on harpsichord and the trio of violinists lend a buoyant quality to the overall sound. Goldsborough’s continuo work is particularly engaging, providing a lively underpinning that contrasts sharply with other recordings, such as the aforementioned Busch set, where the continuo seems almost inaudible. Neel’s interpretation occasionally suffers from inconsistent tempo choices; while some movements race forward with invigorating energy, others may languish unexpectedly, leading to a lack of cohesion that some listeners might find disconcerting.
Recording quality, as expected from the 1930s, presents challenges. Nevertheless, the engineering captures a certain charm of the period, placing the ensemble in a resonant acoustic that enhances the orchestral timbres. The dynamic range, while limited compared to modern standards, still manages to convey the essential contrasts that Handel so masterfully employed. Each concerto unfolds with a sense of narrative, yet the somewhat opaque nature of the sound can obscure finer details, which might be better delineated in contemporary recordings.
These pioneering performances, despite their limitations, stand as significant historical documents that reflect an evolving understanding of performance practice in the early 20th century. Neel’s interpretations, while sometimes indulgent, reveal a rich tapestry of sound that invites admiration and respect for the artistry of that era. Though they may not overshadow the more polished renditions available today, they embody a critical lineage of performance that should not be underestimated.
The Boyd Neel Orchestra’s traversal of Handel’s “Concerti Grossi Op. 6” represents an important chapter in the interpretation of Baroque music. Their approach, with its lush textures and expressive interpretations, provides a compelling, if occasionally uneven, listening experience. As an early representation of these works, this recording serves as both a historical artifact and an invitation to further explore the depth of Handel’s orchestral genius.
