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A fascinating phenomenon has occurred over the past several decades.
Before the 1960s, we had virtually no original instruments, nor the kind of historical research into how pieces from the Medieval to Romantic eras might have been performed by the musicians of those times.
Pioneers such as Harnoncourt, Leonhardt, Kuijken, and others were the 'guinea pigs' of the early HIP (Historically Informed Performances). They were willing to take up these old, dusty instruments discovered in attics and closets, and reproduced and reconstructed from paintings, and attempt to accurately portray an approximate idea of what listeners may have heard in the times of these compositions.
As we now know, while these early attempts were certainly of interest, the execution on these recordings left much to be desired. Scratchy sound, scrawny tone, poor intonation, and squarely didactic interpretations were largely the result. Despite the best efforts of these mavericks, the overall quality was just not as good as the traditional recordings by the existing modern ensembles.
However, over time, HIP musicians had more time to perfect their technique, widen their interpretive scope, and eventually began producing performances and recordings that were equal if not surpassing the standard ones.
The public responded favourably and, one might even say, this new movement saved the recording industry of the time with their fresh, new approaches and interpretations that allegedly more accurately reflected the possibly intentions of the original composers.
Modern ensembles began to take notice and started paying attention to this 'movement'.
The generation that had the greatest impact included the conductors John Eliot Gardiner and Roger Norrington. After each produced ground breaking sets of Beethoven Symphonies, they started to turn more of their attention to modern instrument groups as a way of passing on their collected wisdom.
Thus, the technical prowess of modern musical execution was married to the fresh energy and sound concepts of the HIP proponents.
Today, modern orchestras perform Baroque and Classical repertoire much differently (Simon Rattle apparently had the Birmingham Symphony purchase a whole set of Baroque bows for the string players to use). And original instrument ensembles now perform with astonishing virtuosity and accuracy, while playing with great expression and colour.
This set of Haydn Symphonies is a perfect example of the new hybridization which has taken place. The generation of musicians that ignores and even denigrates the HIP influence on music is dying out. Consider the younger violinists Alina Ibragimova, Patricia Kopatchinskaja, and Victoria Mullova, and many more - they all make significant changes to their style of playing and their sound and tone production depending on the musical era they are performing.
The Zurich Chamber Orchestra use modern instruments, but are clearly affected by the stylistic direction of Norrington and his vast experience with experimentation with the HIP idea.
They play with a great energy and wit, bringing out the tremendous creativity of Haydn.
I, for one, do not wish for every ensemble to sound alike, or for every musician to have the same approach to each and every piece of music, but I also don't want Bach, Mozart, Tchaikovsky, and Prokofiev to all sound the same.
Your choice...
他の国からのトップレビュー
liberta
The New Hybrid?
2017年4月15日にカナダでレビュー済みAmazonで購入
jlh
like myself, will find Norrington's way with this music ...
2016年1月15日にアメリカ合衆国でレビュー済みAmazonで購入
Sagittarius
Von wegen weise!
2015年4月20日にドイツでレビュー済みAmazonで購入
MJH
Pretty good, with reservations.
2024年1月22日に英国でレビュー済みAmazonで購入
