In his liner notes, Andrew Manze writes that this collection, which includes two single movements--one slow, one fast--represents all of Handel"s violin sonatas, but that no one is really sure how many of them he actually wrote. No matter; they all contain wonderful music and have been loved by players and listeners since they were written. Six are well known. Two are unfamiliar, and the second of these, in G major, is quite unlike all the others: two brilliant fast movements separated by a brief, highly dramatic slow recitative. The rest are cast in the customary four-movement form, but they still have extraordinary diversity; no two of them sound alike. Manze"s program is arranged for utmost contrast, and his playing underlines the differences. He is a fabulous violinist with an effortless virtuoso technique and extraordinary bow control. He has at his disposal an incredible variety of articulation, dynamics, and nuance, which he uses to change mood, character, and expression with utmost subtlety and minimal means. He vibrates sparingly but to great tonal and emotional effect; his expressiveness ranges from driving vigor, exuberance, and headlong impetuosity to mournfulness, dramatic intensity, songful lyricism, and serenity. His rhythm is buoyant and flexible and he hesitates on certain significant upbeats in a way that is mischievous but not mannered; his tempi, fast and slow, are judicious and controlled. Both he and his pianist ornament lavishly and imaginatively in a wonderfully spontaneous, improvisatory fashion, especially in slow movements and repeats, often bursting into brilliant runs. This is "authentic" playing in every sense: faithful to the composer, the style, and the performers" passionate feeling for the music. --Edith Eisler