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  • Hurwitz on Marriner's Handel

    From Roland van Gaalen@vangaalenusenet@gmail.com to rec.music.classical on Wed Jul 10 14:07:35 2024
    From Newsgroup: rec.music.classical

    "A feast for the ears".

    Right on the mark!

    I don't have this box ('The Decca Legacy', 19 CDs), but judging from
    what I do have (I just listened to 6 Concerti Grossi, Op. 3 on Philips, recorded in 1981) the relevant adjectives are:

    pleassant, elegant, lively, warm, beautiful, brilliant, Handelian!

    Hurwitz's review is worth hearing: https://youtu.be/iK70Amt8Brs?si=5LDTJJv_tP5Pz3H_
    --
    Roland van Gaalen
    The Netherlands
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  • From herst@herst@online.nl (Herman) to rec.music.classical on Wed Jul 10 14:58:13 2024
    From Newsgroup: rec.music.classical

    Predictably, two minutes in, in Hurwitz's video on Marriner, the lying
    begins.

    "In the late sixties, early seventies, there was no period instrument revolution yet."

    Harnoncourt's Concentus Musicus Wien was started in 1953. Next year
    Gustav Leonhardt recorded the first set of Bach Cantatas. Sure, England
    was slow and insular, however Trevor Pinnock and The English Concert
    started playing on period instruments in 1972. Pinnock had been part of
    St Martin's in the Fields.

    Anglo-American critics of HIP always try to make it sound as if playing
    on period instruments is just a recent fad. That is a lie.
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  • From Roland van Gaalen@vangaalenusenet@gmail.com to rec.music.classical on Wed Jul 10 18:38:17 2024
    From Newsgroup: rec.music.classical

    On 10/07/2024 16:58, Herman wrote:
    Predictably, two minutes in, in Hurwitz's video on Marriner, the lying begins.

    "In the late sixties, early seventies, there was no period instrument revolution yet."

    Harnoncourt's Concentus Musicus Wien was started in 1953. Next year
    Gustav Leonhardt recorded the first set of Bach Cantatas. Sure, England
    was slow and insular, however Trevor Pinnock and The English Concert
    started playing on period instruments in 1972. Pinnock had been part of
    St Martin's in the Fields.

    Anglo-American critics of HIP always try to make it sound as if playing
    on period instruments is just a recent fad. That is a lie.
    I (who never received any training in music) suspect Hurwitz is
    referring to the LP market and the general LP buying public.

    Could it be that around 1970, the overwhelming majority of Bach, Handel, Vivaldi and Haydn recordings were not really 'historically informed' |a
    la Leonhardt, Harnoncourt, Pinnock and Gardiner, and made with modern instruments?

    I suppose Karl Richter was no idiot and knew something, but it's my understanding that he's not considered a 'historically informed' musician.
    --
    Roland van Gaalen
    The Netherlands
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  • From herst@herst@online.nl (Herman) to rec.music.classical on Wed Jul 10 18:59:58 2024
    From Newsgroup: rec.music.classical

    "Could it be that around 1970, the overwhelming majority of Bach,
    Handel,
    Vivaldi and Haydn recordings were not really 'historically informed' |a
    la Leonhardt, Harnoncourt, Pinnock and Gardiner, and made with modern instruments?"

    Of course period practice was still pretty niche back in 1970.

    So when Karajan recorded Handel's Water Musik suite it was marketed via
    DG straight, whereas baroque specialists were marketed via DG Archiv.
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  • From mccomb@mccomb@medieval.org (Todd M. McComb) to rec.music.classical on Wed Jul 10 19:15:58 2024
    From Newsgroup: rec.music.classical

    In article <c609f5989beee55deb13b396e87f85cf@www.novabbs.com>,
    Herman <herst@online.nl> wrote:
    So when Karajan recorded Handel's Water Musik suite it was marketed
    via DG straight, whereas baroque specialists were marketed via DG
    Archiv.

    And as another for instance, here's Safford Cape's discography, after
    founding Pro Musica Antiqua in 1933:

    http://www.medieval.org/emfaq/performers/cape.html

    E.g. his DG Archiv recordings apparently fall circa 1950-56.

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  • From herst@herst@online.nl (Herman) to rec.music.classical on Wed Jul 10 21:07:14 2024
    From Newsgroup: rec.music.classical

    "I (who never received any training in music) suspect Hurwitz is
    referring to the LP market and the general LP buying public."

    In 1975 I had no problems finding LPs on all kinds of niche labels,
    European and American (there was a lotta harpsichord building and
    playing in New England from the mid-Sixties onwards).

    The reason why Hurwitz says there was nog HIP back then is because he
    wasn't interested.
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  • From Roland van Gaalen@vangaalenusenet@gmail.com to rec.music.classical on Wed Jul 10 23:44:28 2024
    From Newsgroup: rec.music.classical

    On 10/07/2024 23:07, Herman wrote:
    "I (who never received any training in music) suspect Hurwitz is
    referring to the LP market and the general LP buying public."

    In 1975 I had no problems finding LPs on all kinds of niche labels,
    European and American (there was a lotta harpsichord building and
    playing in New England from the mid-Sixties onwards).

    The reason why Hurwitz says there was nog HIP back then is because he
    wasn't interested.

    Obviously, as a layman I don't know enough about the history of the HIP revolution to comment on this.
    --
    Roland van Gaalen
    The Netherlands


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