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Author Topic: "HIP" aspects we're entirely content with  (Read 962 times)
oliver sudden
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« Reply #45 on: 13:48:36, 14-11-2008 »

I suppose when I said "conductor" I meant more a kind of "MD" like Reinhard Goebel rather than a "proper" conductor like JEG.
(Sorry that this has taken a while...)

Ah, no. My 'conductor' was certainly 'conductor' in the post-Berlioz/Spohr/Weber/Wagner/Mahler sense - which for music up to and including Beethoven is something which I find quite audibly less and less interesting. Compare Cristofori's Beethoven piano concertos with JEG's...

Isn't it 'historically' normal for the keyboard player to wave at the choir as necessary, anyway? That kind of pragmatic synchronising function (without the synchroniser necessarily determining other parameters than togetherness) isn't something I personally have a problem with (as long as it's competently done).
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richard barrett
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« Reply #46 on: 13:58:54, 14-11-2008 »

My 'conductor' was certainly 'conductor' in the post-Berlioz/Spohr/Weber/Wagner/Mahler sense - which for music up to and including Beethoven is something which I find quite audibly less and less interesting. Compare Cristofori's Beethoven piano concertos with JEG's...

I think it's probably more the case that conductorless performances have become more interesting though - the Collegium Aureum was playing repertoire up to Beethoven without a conductor in the 1970s and the result was in comparison with more modern, I mean more HIP, you know what I mean, more recent performances, a bit anonymous.
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Turfan Fragment
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Formerly known as Chafing Dish


« Reply #47 on: 19:38:11, 14-11-2008 »

Is the Orpheus Chamber Ensemble still considered a premier conductorless ensemble? At the time they were founded, was this so unusual that it justified them putting this characteristic in a prominent place in their marketing literature (which they did)? Or was that 'just' a marketing ploy?
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