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Tue, 23 Nov 1999 10:41:35 +0000 |
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William Hong writes:
>I tend to think that Kuijken doesn't get very good press in the
>English-speaking music review periodicals. I'm not sure why, other than
>that he represents a somewhat different, perhaps less "flashy", way of
>Historically Informed Performance. This is similar to criticisms I've read
>of people such as Gustav Leonhardt, with whom the Kuijkens have had a long
>collegial relationship in music making. I wouldn't say this is is peculiar
>to English media such as Gramophone, as I've also heard very favorable
>reviews of Kuijken's work on the BBC.
This is not entirely correct. Kuijken's recordings of the Haydn Paris
symphonies were widely praised as were 2 of his other 3 Haydn symphonies
cds (I didn't like his version of No91).
The problem seems to be when he records vocal works. The speeds he adopts
in The Seasons are very unusual, almost spelling it out at times.
I am afraid I was less than impressed with his version of L'Infedelta
Delusa also. The Penguin Guide gives this a generous 2.5 stars. But
once one has heard the Dorati version Kuijken's becomes a disappointment.
Recently I listened more carefully to some of the Dorati recordings
of Haydn opera. One often has a preconception that Dorati uses
inappropriately large forces, but on review I found this not to be the
case. A good part of the large warm Dorati sound seems to be achieved by
closeish micing and the warmth of the recording. Perhaps this is what is
lacking in the Kuijken Delusa.
I am a staunch advocate of period ideals. But sometimes one has to admit
that a modern performance is better.
Bob Draper
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