Trumpet(s) for Handel

• Performer(s): Jonathan Freeman-Attwood, trumpet; Anna Szalucka, piano; with Tom Freeman-Attwood, trumpet
• Producer: Philip Hobbs
• Recording, editing & mastering Philip Hobbs
• Recorded: Duke’s Hall, RAM London, Oct 2022-Feb 2023
• Label: Linn

The title of this album may have been better stated as “Trumpet(s) for Handel.” It’s a chock-full release of some of Handel’s best hits arranged for one or two trumpets with piano. The sound and way the trumpet is captured in a supportive acoustic I think is ideal.

To be sure, despite Freeman-Attwood’s production skills on many HIP recordings, this is all a modern-day affair using valve trumpet and a “grand piano.” The notes mention an earlier such release with music of Bach, of which I am not familiar. I auditioned this recording via Qobuz at high-resolution using bookshelf speakers, however in this particular setup the resolution was downsampled to 88kHz to match the limitations of my DAC.

The approach I took with this album would be how a pianist might play some of Handel’s keyboard sonatas. You can certainly eschew baroque practice and play his pieces in opposition to what we generally accept as HIP, or you can come half-way, and still address the period style with the dynamic upgrade with the piano. Szalucka’s playing is light in touch and she matches the agreed-upon tempi with exacting timing in sync with the trumpet. Part of me would have loved to heard what these arrangements would have sounded like with a harpsichord or even a an organ. As presented, my only wish is that I felt closer to the piano, as loud as a trumpet can be at its higher dynamic range.

Wishes pushed onto this production, I think the result may have also been interesting coupling the trumpet with a string quartet. The recording in a few spots may favor the trumpet over the piano but the effect I think is at least partially-dependent upon each performer’s control of dynamics. But the emphasis, clearly, is on the projection of the sound of trumpet over the accompanying instrument.

Freeman-Attwood (the father) I found to be a remarkably fine trumpet player. He takes full advantage, I think, of the potential of the modern trumpet while still paying respect to the HIP style. His use of vibrato, of course, is not HIP, but it’s so delicious I think it deserves to be there. The Andante and Allegro (III/IV) from the Sonata in F (HWV 315) is a great exemplar of his sensitivity and the warmth of color he provides in the slow movement, contrasted with crisp playing in the Allegro.

The piano playing in track 8, HWV 428, is a little romantic in style, as is Freeman-Attwood’s phrasing, but then those turns come and they are crisp and quick. I can accept that this isn’t an HIP recording. What I admire is how consistently their adopted artistic approach to the music is consistently presented, piece after piece, and done within the confines of good taste.

To my ears there’s a bit of a British sound to their playing, which is probably my susceptible ears to the stereotype around trumpet music. Either way, if you’re like me and feel out of sorts a bit leaving HIP land, a few tracks into this album, I think you’ll find you’re among friendly companions.

The duo here also include, as we might expect, some of Handel’s vocal music; centered in the album are three arias, selections from Semele, Ariodante, and Berenice. The third one is one of the tracks where Freeman-Attwood’s son joins his father and despite Tom’s bio reports him studying with a number of teachers, the artistic synergy between the two players is excellent. The aria from Berenice HWV 38, *Se il mio amor fu il tuo delitto** is really a treat.

Another favorite of mine from this release is the contrapuntal Allegro from the Sonata #2, HWV 322. It’s refreshing as such a line would have been a difficult (or impossible) for a natural trumpet. Again, I wanted more cowbell (or piano, orchestra) to match the flavor of this movement. This isn’t a dig at all on Anna Szalucka, maybe the arranger? In truth, Timothy Jones is credited as the arranger in this album and I think his solutions deserve being called out with praise. The final movement is fun; I appreciate Freeman-Attwood’s variety in articulation.

Handel’s music is attractive and satisfying, no doubt even if he’d never conceived of a valved trumpet with the new pianoforte during his lifetime, we can’t blame trumpet players differently than any others in wanting to arrange and embrace music that may not have been originally scored for their instruments. Beyond providing us a strong and well-programmed recital on this recording, I think this release may open up many trumpet students to adopt these arrangements in their exploration of baroque style. At least I hope so.

I hope this album sells well and gets streamed a plenty. Either picking out single works, or letting it play through will be an enjoyable time. I know I shall seek out more of both Freeman-Attwood’s recordings. They are, in this album, great advocates for listening to more trumpet. Jonathan Attwood-Freeman’s liner notes add value to the release.

Warmly recommended.