Gurn's Classical Corner

[DavidW]

I'm sorry Franco but why do you consistently write Daumgaard?  Isn't it Dausgaard?

I'm not a nazi about grammar or spelling, I'm terrible at both but I think that names should be spelled correctly.  Since you are usually so careful about it, I can't help that think that there must be an underlying reason that I'm not getting.

[Franco]

Thanks, DavidW for the correction - just a brain fart - he's a new conductor to me and I got his name wrong.

[SonicMan46]

Below is part of a post left last night in the listening thread - the composer spans the Mozart years, but still died young (losing his head during the French Revolution).  Edelmann came from Alsace, so a German-French background; he worked mainly in Paris, but little is known about his life (in fact, I cannot even find a decent Wiki article on him - a rarity!). 

His musical output is little known although the liner notes state that he published 15 volumes of 'keyboard works' between 1775-86 - not sure how big the volumes may have been?  I cannot find much more regarding available recordings of these works!  My main interest in obtaining this disc was to hear Spanyi on the tangent piano which he plays w/ delight (have only a few other discs of performances on this instrument - have not gotten into his CPE Bach recordings yet!) - an image of the piano is inserted below (right) - built in 1993 by Ghislain Potvlieghe, Belgium after Baldassare Pastori's instrument from 1799 - 

Edelmann, Johann (1749-1794) - Keyboard/String Quartets w/ Miklos Spanyi on the tangent piano - I'm really enjoying this instrument (i.e. wooden slips striking the strings w/ a variety of ways to change the tone and coloring of the sound produced) - this performer's MAJOR output has been the CPE Bach solo & concerto keyboard works played on this instrument - I've not acquired any of these discs YET!  I guess that an eventual BOX by BIS may be offered, but when? 

   

[karlhenning]

All our brains do that from time to time, Franco.

[DavidW]

All our brains do that from time to time, Franco.

Speak for yourself Karbl.

[SonicMan46]

Well all, 'enough is enough'!    That price below @ Newbury Comics was too hard to resist - just 'pulled the trigger' and put in an order for the Hogwood set - 

Now, I'd actually like to acquire the Hogwood set also, mainly because of the 'extras' - Newbury Comics is selling the set for $80 on the Amazon Marketplace - I'll give this potential purchase some thought over the next few days - 

[DavidW]

You won't be disappointed Dave.

[Gurn Blanston]

You won't be disappointed Dave.

What he said. I paid more than twice that, and I'm still not disappointed!

[Scarpia]

What he said. I paid more than twice that, and I'm still not disappointed!

I assume there's harpsichord tinkling away in all the symphonies in that set?

[karlhenning]

I assume there's harpsichord tinkling away in all the symphonies in that set?

Why all . . . ?

[Opus106]

Why all . . . ?

The Mackerras set has an H. tinkling away even in the late symphonies, so the possibility of that happening in a HIPer set is very much there. Just sayin'...

[Scarpia]

Why all . . . ?

I would find it more appropriate to the early symphonies than the late ones.

[karlhenning]

Yes.

[Gurn Blanston]

Well, if you note the picture of the cover in Sonic Dave's post, you will see the name of Jaap Schröder there. He, in fact, conducts the AAM in this series. Hogwood is the continuo player. So yes, there is going to be continuo played, to be sure. However, the focus is not on that, in most cases you would have to listen for it especially to even notice it. The point of it is to make things blend in and have continuity, so if it sticks out like a sore thumb, then it isn't doing its job properly.



FWIW, Hogwood goes just the opposite in his Haydn symphonies, using no continuo whatever, while Goodman and Solomons both do. Go figure.

[Gurn Blanston]

Scarpia,
Might I suggest that is continuo doesn't appeal to you, you try the Harnoncourt/Concentus Musicus Wien disks?  These have been very well reviewed here, and in fact I am thinking of hunting some down myself. I imagine they are OOP and $$$, but what the hell, still worth a look.

[Scarpia]

Well, if you note the picture of the cover in Sonic Dave's post, you will see the name of Jaap Schröder there. He, in fact, conducts the AAM in this series. Hogwood is the continuo player. So yes, there is going to be continuo played, to be sure. However, the focus is not on that, in most cases you would have to listen for it especially to even notice it. The point of it is to make things blend in and have continuity, so if it sticks out like a sore thumb, then it isn't doing its job properly.



FWIW, Hogwood goes just the opposite in his Haydn symphonies, using no continuo whatever, while Goodman and Solomons both do. Go figure.

Well, as an otherwise enthusiastic HIPster, the continuo is the  bane of my existence.  My personal opinion is that continuo continued to be used in performing symphonies in the late classical era because the concept of the conductor was not yet developed. 

[Scarpia]

Scarpia,
Might I suggest that is continuo doesn't appeal to you, you try the Harnoncourt/Concentus Musicus Wien disks?  These have been very well reviewed here, and in fact I am thinking of hunting some down myself. I imagine they are OOP and $$$, but what the hell, still worth a look.

I have those, as well as the big Warner box with all of Harnoncourt's RCO Mozart recordings.  For some of the RCO recordings I still have the Telefunken LPs.  Wouldn't be without them.   

[karlhenning]

Well, if you note the picture of the cover in Sonic Dave's post, you will see the name of Jaap Schröder there. He, in fact, conducts the AAM in this series. Hogwood is the continuo player. So yes, there is going to be continuo played, to be sure. However, the focus is not on that, in most cases you would have to listen for it especially to even notice it. The point of it is to make things blend in and have continuity, so if it sticks out like a sore thumb, then it isn't doing its job properly.



FWIW, Hogwood goes just the opposite in his Haydn symphonies, using no continuo whatever, while Goodman and Solomons both do. Go figure.

I am guessing that there is insufficient documentation to sway the matter definitively one way or the other.  My perspective is necessarily anachronistic, but continuo on the great later Mozart symphonies feels counter-intuitive to me.

Do these gents play the first two Beethoven symphonies with continuo?  The Opus 55? ; )

Come to think of it, is there any reason to rule out continuo for any of the Beethoven symphonies? . . .

[Sergeant Rock]

Well, as an otherwise enthusiastic HIPster, the continuo is the  bane of my existence.  My personal opinion is that continuo continued to be used in performing symphonies in the late classical era because the concept of the conductor was not yet developed.

The harpischord in the Hogwood recordings is quite discreet...like when you hear the instrument live with an orchestra: buried in the mix most of the time. It's well known that I hate the instrument but it's use in these recordings doesn't bother me. It's nothing like Goodman's Haydn where he transformed each symphony into a harpsichord concerto! 

Sarge

[Scarpia]

I am guessing that there is insufficient documentation to sway the matter definitively one way or the other.  My perspective is necessarily anachronistic, but continuo on the great later Mozart symphonies feels counter-intuitive to me.

Do these gents play the first two Beethoven symphonies with continuo?  The Opus 55? ; )

Come to think of it, is there any reason to rule out continuo for any of the Beethoven symphonies? . . .

I'm betting that if I try hard enough I can find a recording of Bruckner 8 with continuo.