While Norrington uses Handel’s preferred scoring for the Fireworks Music, Trevor Pinnock, in his new recording, goes for George II’s preference – that is, exclusively ‘warlike instruments’, just wind and percussion. Such evidence as we have about the first performances of the work seems to indicate that Handel had his way and strings were used, along with a massed wind; probably the wind version was never heard in Handel’s day (its premiere may well have been the historic recording made by Charles Mackerras for Pye; 6/59 – nla). Well, here it is, with 24 oboes, 12 bassoons, double bassoon, nine each of trumpets and horns and six percussion. It’s certainly rousing stuff, and a noble noise. I imagine that practically the whole of London’s period-instrument community of double-reed and brass players must have been assembled for this recording. With his direct and unaffected rhythm, Pinnock sets up a sturdy momentum for the Overture and the effect is grand and imposing. The dances too receive straightforward performances, with plenty of spirit and energy. Pinnock’s chosen orchestration in “La rejouissance”, with trumpets only first time, isn’t quite satisfactory as some necessary notes are not available, and something is slightly awry near the end of the first strain. The percussion seems to me excessively noisy even if authentic.

This CD offers some welcome rarities. The F major Concerto is made up of versions – whether early or later is doubtful – of two movements from the D major part of the Water Music, here in F major; one is that “Water Peice” again, with some interesting and very characteristic differences from the familiar version and the other is the Alla Hornpipe. In between Pinnock plays, as slow movement, an Adagio from Op. 3 No. 5. The D major Concerto consists of what are probably early versions – less purposefully shaped, but again with some highly characteristic touches – of two movements from the Fireworks Music with a version of a movement from a violin sonata, on the organ, in between. The Passecaille, Gigue and Minuet come from a trio sonata and the Occasional Suite draws on the Occasional Oratorio overture (note the expressive oboe playing of Paul Goodwin in the Adagio), the Ariodante ballet and music composed for Joshua and Alessandro Severo. It all works pretty well, although some of the music in this last is not the most distinguished of Handel. But the concertos especially are well worth having, and certainly George II’s vision of the Fireworks Music is to be relished in its way. This CD is highly enjoyable and warmly recommended.

-- Stanley Sadie, GRAMOPHONE [1/1998]