>Roger Hecht writes: >>Thinking about it now, I don't really know why Handel operas are being >>recorded in such numbers. Christopher Webber responded: >With the exception of those few which by reason of their fame boast more >than a couple or so recordings, Handel's operas have all got recorded >because of their quality, sure - but more because of the need for novelty. >... >And in an age saturated with old and marvellous Bohemes, Barbers and >Butterflies, there is very little demand (or dare I say need?) to throw >good money into the recording wishing-well for those pieces once again. As good an explanation as any. They are certainly cheaper to produce. Not that I'm objecting, mind you. >Without getting into the HIP versus "modern" argument again, isn't it >right to say that this particular battle has been fought and finished, >at least until the next revolution comes round? Yes. >At any rate, whatever the instrumental pitch, the actual *sound* of >these truly "modern" performances is lighter, tempi are faster, repeats >more slavishly observed, balance more woodwind-oriented ... the list >goes on. When today's Berlin Philharmonic strings play Beethoven or >Mozart under Rattle or whoever else, they employ a modified, relatively >vibrato-free sound, cleaner, less rich and weighty of tone. I've acknowledged this and have credited HIP for this trend. I certainly don't yearn for a 100 piece orchestra in Mozart, complete with doubling trombones. >So when we talk about really "modern" (i.e. 21st century) playing, isn't >it true to say that the gap to HIP has narrowed to a mere sliver of what >it was - or seemed to be - in the 1960's? And this "modern" style is not >just influenced by HIP playing, but by contemporary social mores and >changing aural tastes in the wider world. ... Agreed on most of this. When I say I wish for modern isntruments on Handel operas--or the choice of having them on a recording or two--I'm not talking about a cast of thousands. I would just like a change from the sound of HIP strings especially. The oddest thing goes along with this. I've heard a lot of HIP groups and conductors. Yet, so often do I return to Harnoncourt for much of this music, especially Bach--despite all the imperfections, occasions of under-rehearsal and all that. Maybe it's because they're the first I knew and they've imprinted. But they have a spirit, even an attractive crudeness at times, that I find more engrossing than the more perfect playing of the groups, say, under Suzuki and Koopman, who sound so homogenized--even more so than some modern orchestras in the Cantatas I've heard. Roger Hecht *********************************************** The CLASSICAL mailing list is powered by L-Soft's renowned LISTSERV(R) list management software together with L-Soft's HDMail High Deliverability Mailer for reliable, lightning fast mail delivery. For more information, go to: http://www.lsoft.com/LISTSERV-powered.html