Throughout this set, Handel’s contrapuntal brilliance comes through strongly, helped by Fisher’s exacting rhythmic control and clear articulation. Fast movements are executed with impressive control and occasional ever-so-slight rubato for emphasis. The bubbly second movement Allegro of the Second Suite will bring a smile to all but the most soberly inclined. Yet he brings out the composer’s ability to suddenly touch the heart, such as in the two meditative Adagios in the same suite. In the final one, Fisher emphasizes the wistful Sarabande by deploying a gentle, yearning quality that is irresistible.

The longest of the four, the Third in D minor, deploys a seven-movement structure, and it, too, has a rapt, thoughtful slow movement, a lengthy Air that might be the climax. And although a traditional Allemande and Courante make appearances, Handel adds a short set of variations (Doubles Nos. 1–5), and caps it off with a festive Presto.

Such care and precision bodes well for Volume 2. Although Fisher is known for his affinity for contemporary music, he clearly has the measure of these Baroque gems. And talent aside, he is very well recorded, with lots of detail, by Jonathan Allen of Abbey Road Studios, here working at Birmingham’s Symphony Hall in the U.K.

Philip Edward Fisher certainly has the mechanical capabilities to play this music in a convincing manner, as the virtuosic opening preludes to both the first and third suites, in A Major and D Minor, respectively, can attest. His free way with them pays dividends, as it feeds off the very nature of their origins—improvisation...He has a keen sense of voicing and tonal shading, as well as tempi which tend to be moderate, except occasionally. The Air to the D-Minor Suite, which he, along with many others, plays just too slowly for me, is an example...Fisher’s E-Minor Suite comes off the best, as he plays it in the most unaffected way: a light and bouncy, virtuosic fugal Prélude, followed by a soft and flowing Allemande, an aggressive and assured Courante, a pensive Sarabande with little ornamentation and played at a gently lilting tempo, and a lively, quirky, and lightly ornamented Gigue. Fisher seems to let the music speak for itself here—something that many performers can do a little more of from time to time.

All in all, this is a very fine disc, to be warmly recommended, not only for its low price, but also for its often assured and inspired playing...Here’s hoping that Fisher will grace us not only with the complete “Eight Great Suites” of 1720 in the following volume(s), but all 16.