While they may not remain in circulation very long, fine recordings of Handel’s flute sonatas have been relatively plentiful. What usually distinguishes them is the selection of works chosen for the program. For example, while this recent MDG performance by flutist Konrad Hünteler claims to be complete (and depending on which scholar is to be believed, it may very well be), Lisa Beznosuik’s recently reissued Hyperion recording additionally includes sonatas HWV 374, 375, and 376. Regardless of which recording is actually complete (relevant only to the scholar and to those obsessed with how many minutes of music fill their CDs), re-listening to Handel’s lovely sonatas always is a delight and Hünteler’s performances must be ranked with the very best.
Like Frans Brüggen’s performances on SEON, Hünteler opts for a darker-toned instrument and a minimum of ornamentation. His rendering of the Adagio from HWV 376b rivals Brüggen with its similar clarity and stately reserve. Also like Brüggen, Hünteler has a tendency to selectively elongate notes to heighten dramatic effect. His sustained treatment of the finale of the third-movement Adagio of HWV 378 is particularly ravishing. Unlike Brüggen however, Hünteler adopts more moderate tempos throughout. The Allegros bounce without ever seeming rushed and the momentum of the Largos, while slow, always remains steady and assured.
As usual with MDG, the sound is naturally balanced if not acoustically perfect. Each instrument is clearly distinguishable yet believably integrated in the ensemble. In the notes Annette Landgraf offers the usual historical background and argues the “whys and wherefores” of Hünteler’s chosen selections. In all, this is a worthy contender for anyone considering a “complete” recording of Handel’s deservedly popular flute sonatas.
