represent almost entirely his production for keyboard. It is on the pieces of various kind taken out from Klavierwerke III and IV on which I wanted to focus this recording work on.
The Suites for Harpsichord (1720-33) usually are the most known and performed in concert-hall. Furthermore several are recording publications in which great interpreters underline extraordinary characteristics: majesty, brightness, elegance that mould wisely in traditional dances. A part of the pieces for keyboard instrument in III and IV book of the Suites, performed rarely, have characteristics that allow their performance with harpsichord and organ. If we except stylistic dances linked to suites, here that sonatine, ciaccone, arie and preludes find their right location in Eighteenth-century English organ’s, far away from German organ and closer to Italian of the second half of Eighteenth century.
Obviously, being two volumes particularly thick, was not thinkable performing all in a unique CD: for this reason was done a choice that could combine variety and originality in order to propose an un common Handel, but with stylistic and correct approach. The organ of Corio is suitable for a philological performance of the Seventeenth and Eighteenth-century Italian repertoire.
Thanks to its phonic and sounding characteristics has allowed this reassessment, standing out expressive contrasts, straightforward counterpoint, majestic simplicity, evident themes and rhythmic variety of a greater composer of Halle.