Apollo's Fire & Jeannette Sorrell Handel Israel in Egypt, Hwv 54 (2023)

This project is based on Israel in Egypt, one of the best-known and most popular oratorios by Georg Friedrich Handel, and has been created on the basis of the common history and roots of three religions; Islam, Christianity and Judaism. Musicians from the (Western) European Baroque tradition (Baroque orchestra and choir), and hence from a Christian background, are joined by musicians from Jewish and Muslim backgrounds. The basic musical form of Handel’s oratorio and its narrative structure remains untouched, for the most parts.

I do think that this Decca set is arguably the best compilation reissue of such a bulk of Handel work which has been released in a long time, just in time to commemorate the two hundred fiftieth anniversary of the passing of il caro Sassone. There is a lot in this box, absence of libretti notwithstanding. The enclosed booklet is essential to navigate you through the track listings and timings and little else but a small general essay on GFH.

By John Van Note

The Cleveland-based baroque orchestra Apollo’s Fire, with their founder/ director Jeannette Sorrell, has made an indelible impression on the international music market since launching on Avie with recordings of Bach, Mozart and Monteverdi. Vivaldi and Friends is a presentation of concertos by the Red Priest with a twist: two authentic Vivaldi Concertos – one for four violins, the other for two cellos – are interspersed with J. S. Bach’s transcript ion of Vivaldi’s A minor concerto for four harpsichords, and Jeannette Sorrell’s own transcription of ‘Summer’ from the ever-popular Four Seasons. Sorrell’s arrangement mirrors the widespread baroque practice of transcribing violin works for keyboard. In her unique version, she performs the original violin parts on the harpsichord.

The group Apollo's Fire, also known as the Cleveland Baroque Orchestra, was founded by its present conductor Jeannette Sorrell. Playing on period instruments, the modestly sized ensemble delves into the later end of the repertoire with this Mozart disc on the Avie album. Sorrell makes the curious choice to open the program with the well-known, powerful Symphony 40 in G minor, a work that concludes with such fervor and drama that it would seem more appropriately placed at the conclusion of the disc. Sorrell's vision for Mozart seems to be one of modest intensity and tempo diversity. Neither of the outer movements are noticeably driven or brisk, and the inner movements are likewise unsurprising in their execution.