Last edited by BurningDesire; Aug-21-2012 at 17:24.
Last edited by Crudblud; Aug-21-2012 at 17:30.
Most, if not all of the great composers, were forward thinkers for instrumentation and sound. They had to be. It was an integral part of the creative and communicative process.
Unfortunately and ironically, backward/period thinking can often be perceived as a modernistic tool to sell records in the name of scholarship.
I think there's room for both, but we must not kid ourselves when truth in the matter is warranted.
^Okay, so who is kidding themselves? Or am I reading too much in to what you're saying?
I used to be indifferent to HIP for classical period music, including Beethoven, but gradually I've moved more in favour of HIP. I can't help but feel that iit's more likely that the music of any especially good composer, like Mozart and Beethoven, should sound best performed on the instruments it was written for, using the techniques commonly adopted at the time isofar that research can discover them.
The main caveat to this is that I'm not all that keen on the use of forte pianos in the case of Beethoven's solo/chamber works, or Mozart's for that matter. I'm pretty sure that if a modern Steinway (or similar) was somehow available to any of these classical/early romantic composers they would bite your hand off to acquire one.
Last edited by Very Senior Member; Aug-21-2012 at 21:28.
I obviously take issue with, "...it's more likely that the music of any especially good composer, like Mozart and Beethoven, should sound best performed on the instruments it was written for, using the techniques commonly adopted at the time insofar that research can discover them." And of course with those who want to blanket most of the 19th century with period play.
Convincing period application gets less and less as we progress through Haydn, Mozart, and LvB. Apart from some early LvB, there's almost nothing left for the periodists.
I'm no expert of the amount of interest there may be in HIP/period instruments later in the 19th C, but I would have thought that your bold assertion that "there's almost nothing left" after early Beethoven is too strong.
For example, I would have thought that some of Schumann's orchestral works (mainly his symphonies) have received reconsideration on HIP principles in terms of size of orchestra, choice and balancing of instruments. That alone, I would have thought, makes your assertion look questionable, and there could be other examples.
Last edited by Very Senior Member; Aug-22-2012 at 08:52.
Keep clam. I/we are not as fanatical as some on both sides of the issue. I consider myself more of a centrist.
"Asinine stuff...a complete and absolute farce...Awful. Nobody wants to hear that stuff. I don't." -- Pinchas Zukerman
So i noticed that TV didn't have a Beethoven fan club so i took the liberty to make one.
Everyone who enjoys his music are allowed to join./ Warmly welcomed!
Last edited by jani; Sep-03-2012 at 20:32.
I have on gear, GO!
Do you love Ludwig Van Beethovens music?
Does his life-story/music inspire you?
Can you strongly relate to the emotions on his music?
If you answered positively to all those questions, we have just found the right place for you!
The only and THE GREATEST LUDWIG VAN BEETHOVEN FAN CLUB IN TC!!!
To be honest, one of the main reason why I think of Beethoven so highly is because of his string quartets. I just can't find anything else resembling them. For some reason I think he wrote in the voice of a human, rather than in the voice of an epoch or a certain style.
Last edited by Chrythes; Sep-07-2012 at 23:49.
Last edited by Renaissance; Sep-14-2012 at 12:51.