Hans-Martin Linde and his consort of period instruments emphasize the glories of Bach's marvellous tonal palette, making much of the sonorities afforded by the writing. From beginning to end these are performances which set the blood coursing through one's veins; Linde reckons that if Bach went to the trouble of scoring movements for trumpets, drums, oboes, bassoons and strings, then he probably was aiming at vivid, if not heroic gestures. [N.A. Gramophone+[/quote]
The inaccurate and ineptly translated Wunderkind by a generation, and Mahaut was born 36 years before him. It’s not surprising that they share so little stylistically with the younger composer. What they do present are various solutions to the question of how to write a pleasing symphony at different stages of the Viennese and Parisian Classical traditions. Each succeeds, in his own inimitable way.
The Water Music is divided into three suites which are clearly differentiated by their tonality and instrumentation. The pieces with the lighter, more delicate instrumentation would certainly have been played indoors while the pieces with wind demanded double forces of woodwind and made their fullest effect in the open air. Handel’s other great al fresco work, the Music for the Royal Fireworks, was composed to commemorate the Peace of Aix-la-Chapelle in 1748. Opus 3 is, in its splendid and resourceful way, music of forceful originality and bold contours, and is derived from many varied sources - opera, anthem, Passion, even Corelli.