Denis Fodor ([log in to unmask]) wrote:

>Wilson Pereira writes, quoting John Eliot Gardiner:
>
>>The huge advantage when you're directing a period instrument orchestra
>>is that the instruments don't crash into each other, there isn't -
>>as it were, a traffic jam of sonorities, such as builds up very easily
>>with a modern symphony orchestra.
>
>I found that very true of my set of Beethoven symphonies as recorded on
>Nimbus by the Hanover Band (Goodman & Huggett conducting).  But unlike
>Gardiner, who seems to feel that the greatest advantage is gained when
>playing fast passages, I have found that the slow numbers profit even
>more greatly.  Both the Third and the Seventh sound much more nobly, less
>mawkishly, funebral than when, say, Kleiber wrings the tears out of them.

Folks, if you want to hear the best HIP Betehoven set, forget Norrington,
forget Gardiner, forget Hogwood and forget Goodman and Huggett.  Franz
Bru"ggen is your man; only he seems to consider the Eroica and the Choral
are great works of art (as opposed to interesting musicological problems).
Moreoever, none of the liner notes for the original issues mentioned
'metronome' once as far as I could tell.

But are you suggesting that Goodmans Eroica and 7th are superior to Erich
Kleiber's? (Never heard an Eroica by Carlos) I may have to ask you to step
outside...:-)

Deryk Barker
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