Fast tempos in Authentic performances

[Chaszz]

Here is someone who feels the way I do about the breakneck tempos in much original instruments recording today:
http://slate.msn.com/id/2087887

[Rod]

Originally posted by Chaszz:
Here is someone who feels the way I do about the breakneck tempos in much original instruments recording today:
http://slate.msn.com/id/2087887

You connect too much break-neck tempi with the authentic movement Chaszz. From my experience there is always a quicker 'modern' version to be found somewhere. With Beethoven the authentic performances are often too sluggish for my tastes! Listen not to the writers of articles like this, listen to my mp3s here and at my Handel website, I guarantee you will NEVER get the impression that things are being rushed beyond what is required, and they are ALL authentic performances.


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"If I were but of noble birth..." - Rod Corkin

[Rutradelusasa]

I agree with few and disagree with most of what he says. In his examples he makes to much trouble of almost nothing faster, as with Gardiner. I also have to disagree with his view on the B's 6th sym. Aren't the feelings suposed to be happy? You (a merry peasant ) wake up to see your cows with plenty of milk, lot's of wheat and corn on your field, I felt much happier on Hogwood's recording (I have both). Indeed these people research a lot, and they show their grounds to speed up the tempi, if they're lying (which I find difficult to happen), whatever. Gardiner always wrote about the tempi he uses, as has Hogwood and even Savall on his wow-too-fast recording (which I love) of the 3rd B. sym. (and Savall even indicates which metronome marking he uses).

I think it depends much on people's opinion about tempi, I like it faster (or at least not as fast as Harnoncourt's Matthäus Passion, that was too fast).

My two cents.

[Rod]

Originally posted by Rutradelusasa:
I agree with few and disagree with most of what he says. In his examples he makes to much trouble of almost nothing faster, as with Gardiner. I also have to disagree with his view on the B's 6th sym. Aren't the feelings suposed to be happy? You (a merry peasant ) wake up to see your cows with plenty of milk, lot's of wheat and corn on your field, I felt much happier on Hogwood's recording (I have both). Indeed these people research a lot, and they show their grounds to speed up the tempi, if they're lying (which I find difficult to happen), whatever. Gardiner always wrote about the tempi he uses, as has Hogwood and even Savall on his wow-too-fast recording (which I love) of the 3rd B. sym. (and Savall even indicates which metronome marking he uses).

I think it depends much on people's opinion about tempi, I like it faster (or at least not as fast as Harnoncourt's Matthäus Passion, that was too fast).

My two cents.

Concerning the 6th, Gardiner's rendition of the first allegro is one of the most unhappy and lead laden accounts I've heard. I have a much jollier rendition by the Hanover Band on period instruments, which is the best recording I've heard of the 6th (not that there are many good ones in any case). Norrington's 6th is good too, but there are inconsistant recording level issues with this recording I recall. I used to have Hogwood's 9th - his adagio was easily the fastest I've heard by the clock, but it did not sound particularly rushed.

Saval is not too fast with the 3rd, everyone else is too slow! How can he be too fast if he is observing (though not absolutely 100%, but getting there) Beethoven's own metronome indications?


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"If I were but of noble birth..." - Rod Corkin

[This message has been edited by Rod (edited September 10, 2003).]