I noticed that Siegbert Rampe had also recently released a Handel CD. I have most of Rampe's CDs, but struggle to explain my reaction when I re-listen to one: "that's not so bad!" In fact, it's generally quite good, but for some reason I tend to remember something less positive. Something is missing. I can at least partially explain it: the quality of the sound on his recordings is excellent, but I don't like the sound of many of the instruments themselves. Many of his recordings feature a combination organ, harpsichord, and clavichord: generally a clash of aural textures to start with. As much as I like the concept of presenting each instrument, the actual sound of his chosen harpsichords and clavichords simply does not please.
Rampe is a notable scholar. He has all of the dexterity of a virtuoso, plays with intelligence, and chooses interesting repertoire, which I think is really why I have so many of his recordings. Also, the recording quality on the MDG Gold label really sparkles. The tracks on which Rampe plays organ are a sonic treat.
Getting back to the Handel recording: Rampe's "hook" is the choice of instrument: a harpsichord built by Matthias Kramer in which the builder embellished on an instrument by Christian Zell dated 1728, adding a 16' register. This is a very interesting idea, and it yields an instrument with a really big sound that, of course, is very rich in the bass. Rampe goes on to try and convince that this instrument was representative of what Handel owned himself:
My own research has recently revealed that the harpsichord prior to 1734, was a 16-foot model and seems to have had six registers [...] The only evidence is the draft of a painting intended for the underside of the lid [...] I have deduced the provenance and specification of the instrument solely from the proportions of the lid, which are specific to the Hamburg region.
Sorry, but I am something of a cynic when I encounter what I consider pseudo-science, and I guess I get grumpy with I see it mixed with art. I don't think it is necessary. Rather than trying to establish a forced academic legitimacy, it would have worked better for me had he said, 'There were 16-foot harpsichords in Hamburg at the time and Handle may have played one. I found this really cool modern recreation of a 16-foot instrument and thought it would be great to present what this music would sound like on a big instrument like it.'The instrument is interesting: big and muscular. It brings out the masculine qualities of Handel's music. It comes across a bit bombastic. At the risk of picking a fight with the temperament fanatics, I find the choice of mean-tone distracting. The notes claim, 'There can be no doubt that in Hamburg Handel still used mean-tone temperament with pure thirds...' I'll admit, the moment someone starts a sentence with 'There can be no doubt...', my doubt-radar engages. Sorry, but I don't buy it. Where the pure thirds work, it is indeed lovely. Where the tonality strays, it gets ugly, and I don't see such a supremely vocal composer embracing that.
Perhaps my issue with Rampe's performance is that he over-thinks things. Listening closely, I find many aspects to like: nice articulation, great clarity, and even moments of poetry. This recording is full of bits and pieces, and I think some may really like it. However, by comparison, I find Vinikour to have more heart and a more poetic instrument; I wish Vinikour's recording had the same superb recording conditions and engineering.
I see that Hank Knox also has a Handel recording of interest, transcriptions from his operas. I think I'll have to get that.
