TT: Tell me a little about the history of these pieces.
CG: There are 8 suites, which Handel prepared for publication in 1720, although we rather get the idea that his hand was forced. He wrote in the preface “I have been obliged to publish some of the following lessons because surreptitious and incorrect copies of them have got abroad. I have added several new ones to make the work more usefull. . .” Handel didn’t call them ‘Great’; this appellation is a later addition, referring as much to the scale of the pieces, as well as their musical quality!
TT: Why have you chosen the challenge of these pieces at this particular moment?
CG: About a year ago, following recent CD releases there was a lot of press coverage and reviews of the BSB. These all referenced the fact that the Band is known as a Handel specialist, and whilst I knew most of the Suites to play through, I’d only ever performed three of them, and I’d never tackled all 8 collectively, systematically and thoroughly. I was interested and inspired to do this, as I wanted to fill a gap in my own knowledge as well as the BSB’s representation of my instrument.
TT: So, you’ve been living with these pieces for a year now?
CG: Yes, although the notes were mastered within the first few months, I gave myself a year as I wanted enough time to live with the music. The actual notes are just the basic requirement – after that it’s a question of getting to know the pieces intimately, so they take on their own individual characters. I haven’t spent a full year at the keyboard, as earlier this year I took a 5 week sabbatical in New Zealand, which is the longest I’ve ever been away from a keyboard. I was worried about it, but it was actually really beneficial. When I got back I found a lot of the problems I’d been worrying about had been forgotten, and in many ways the pieces had carried on developing in my mind. Perhaps I was free from the preconceptions and anxiety which can surround everyday practise and I was able to see the bigger picture.
TT: A year seems a decent chunk of time to get to know these pieces. Have your perceptions changed at all over this time?
CG: I’ve been surprised by how much I love playing some of the minor key Suites. I’ve always loved the A Major Suite and was looking forward to that, but not so much the pieces in more painful keys such as e and f# minor. But, I just love playing the e minor suite now – it’s so meaty, challenging and satisfying. I still love my original favourites, although I find I don’t spend as much time with them now.
TT: 8 Suites could sound a bit repetitive in programming terms. How are you approaching this?
CG: I’m splitting the suites between 2 concerts, with 4 suites in each. I’ve not programmed them in numerical order, as that would make for an odd progression of keys, as well as too much similar music (e.g. variations) in the same concert. It’s really tricky sorting the suites according to key as Handel didn’t balance them equally. There are 5 minor key suites, and only 3 major key ones.
TT: How does the choice of key affect how you programme the suites?
CG: Some keys are easier on the ear, others designed to be more challenging, and of course I’ll need to come up with a usable tuning temperament that takes all this into account. Handel knew very well that C# major (which is the dominant of f# minor) isn’t easy to listen to. There does need to be some degree of pain, but tricky keys like this are particularly hard on modern ears, more used to equal temperament. I’m currently researching which temperament will work best, as of course I can’t adjust this between each piece. However, I am lucky to have some freedom, in that I don’t have to worry about other players tuning to me!
TT: Are all the suites the same, set out in a similar way to the Bach keyboard partitas, with a string of recognisable dance movements?
CG: Not at all – I think Handel uses the term pretty loosely, as he varies the format of each suite, none being textbook or typical. Handel uses pretty much every available form for early 18th century keyboard music, from fugues, French Overture, unmeasured preludes and sonatas as well as dance movements.
TT: We’re pretty familiar with the concept of Handel re-heating his music, but how much of this repertoire will be easily recognisable?
CG: I’d say that music from at least 4 suites will be familiar. The g minor suite is used orchestrally, and the F Major suite is rather famous and typically Handelian. Both the E Major and the d minor suites with their variations are also well-known. Plus one of its movements is also an organ concerto. Perhaps the best-known music is the E Major suite which contains the famous Harmonious Blacksmith variations. I’ll be ending the concerts with this glorious Suite.
TT: Finally, what instrument will you be using?
CG: I’m lucky to have Alan Gotto so close by. He made my harpsichord, modelled on a French Donzelague, and I’ll most probably use that or Alan’s own Donzelague. The choice of a French instrument is not particularly authentic, but I love its rich and resonant bass and singing treble registers. I have played one of Handel’s harpsichords, an instrument made by William Smith c.1720, and now housed in Oxford’s Bate Collection. It was a wonderful and humbling experience. You could feel the indentations in the keys from his fingers, and it gave me a real insight into him as a player. I could sense the enormous strength and energy that he directed at the keyboard, not to mention the fact that he must have had large hands. Some of the stretches in the “Great Suites” are tricky, and these are big, uncompromising physical works, perhaps just like Handel himself. After all, he would have written them to play himself!
Carolyn Gibley performs Handel’s “Great Suites” at The Chapel, Park Lane, Norwich NR2 3EF, on Sunday 29 June and Sunday 13 July. Both concerts are 6.30-7.45pm.
http://www.dsn.co.uk/agotto/
http://www.norwichchambermusic.co.uk/chapel.php
