A man in a powdered-white curled wig takes his seat in the gilded room. He adjusts the frilled sleeves beneath a red velveteen jacket and begins to play. The first piece in the suite unfurls its contrapuntal fronds. Handel sits astride the backless chair, gently strumming and plucking his way through measured phrases. Or at least, he does in the imagination of Miloš Karadaglić, whose latest album, , is a compendium of works from that period, transcribed for the guitar. Although Handel lived in the same building that Jimi Hendrix would occupy centuries later – a connection celebrated through the recently opened Handel Hendrix House in London’s Brook Street – the composer wouldn’t recognise the modern-day guitar, a verydifferent creature from the fretted stringed instruments of the 1700s.
