Bestseller in Europe, the Suites of 1720 are far from having regained, in concert as on record, the prominent place they once held. Is it the fault of the "pope" Gustav Leonhardt's anathema, who has always snubbed Handel and made it known? Is it the composer himself, a striking virtuoso, but more eager to compose for opera? Is it due to recordings that are often pleasant but rarely by the strongest personalities of their generation? Three decades after the exception of Scott Ross, Pierre Hantaï in turn intends to rehabilitate Handel the harpsichordist.
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