Old but HIPP

[Barbirollians]

As I sit at my desk listening to the delightful recording of Mozart's concerto for flute and harp made by Lisa Besnosiuk, Frances Kelly and the AAM/Hopwood it strikes me that most of my favourite HIPP recordings or as they were then known " authentic instruments " recordings are from the late 1980s - and the ECO/Pinnock and AAM/Hopwood.

Many of the more recent recordings of HIPP performances I have bought either have much less impact or seem to be suffering from overdone ornamentation ( some of the Italian Vivaldi recordings spring to mind ) . I wonder if anyone else has similar feelings - is it just that what was new has now become mainstream or that to seem more new there is more striving for effect .

[ferneyhoughgeliebte]

I don't know the recording you mention, Barbs, but Hogwood has always struck me as variable - often seeming a little "safe" to me (but often getting it spot on: his K338 is positively fizzing, whilst K551 on the same disc keeps the Music firmly "on the page").

There are many recordings from the 70s and 80s that I love, but none have given me greater enjoyment than Krivine's Beethoven cycle from last year, which was a Christmas present that I've kept returning to again and again. Such joyfully profound Music making that renews one's awe of these works.

Best Wishes.

[Barbirollians]

I have to agree about Hogwood . I was a much bigger fan of the ECO/Pinnock but Lisa Beznosiuk is for me the greatest flautist I have ever heard whether baroque or modern and the flute is not one of my favourite instruments generally - unless she is playing !

[ferneyhoughgeliebte]

the flute is not one of my favourite instruments generally

An opinion you share with Mozart himself, who hated having to write for Solo flute (as opposed to the "colouring" that a single Flute gives to his orchestral works). The Flute & Harp Concerto is a particularly beautiful testiment to his professionalism, in this respect!

I wasn't aware of Lisa Beznosuik's work before your post: I shall look (and listen) out for her.

[Bryn]

I wasn't aware of Lisa Beznosuik's work before your post: I shall look (and listen) out for her.

An old flame of mine studied flute with her, back in the '80s. That recording is the only HIPP version I have of the work. I have never felt the need to seek out another.

[MickyD]

The Hogwood recordings of the Mozart Clarinet Concerto/Oboe Concerto and Horn Concertos are equally fine, in my opinion.

[Alf-Prufrock]

If I remember correctly, I have got the disc in question and there is a performance of the Bassoon Concerto on it as well as the flute pieces. Was it Danny Bond who played? I must root it out and play it. Thanks for the hint, Sir Johnians.

I too feel the attraction of early HIP performances. The 80s was an age of freshness and continual joys and surprises as yet another masterpiece turned up spruce and as fresh as new paint. I still love Hogwood's Mozart symphonies, coarse as they may well be to modern ears and even to mine. They are characteristic of an age quite as much as Furtwangler's were - and in my opinion quite as valuable!

[Eine Alpensinfonie]

An opinion you share with Mozart himself, who hated having to write for Solo flute (as opposed to the "colouring" that a single Flute gives to his orchestral works). The Flute & Harp Concerto is a particularly beautiful testiment to his professionalism, in this respect!

This is based upon a letter Mozart wrote to his father. But I wonder whether it was a permanent feeling, or just that he had been irritated by someone playing shortly beforehand. The slow movement of his youthful 9th symphony is a flute solo from beginning to end, and demonstrates, for me, a real love of the instrument.

[Dave2002]

Lisa Beznosiuk - Hatchlands, Wednesday 9th May at 12 noon.

[ferneyhoughgeliebte]

This is based upon a letter Mozart wrote to his father. But I wonder whether it was a permanent feeling, or just that he had been irritated by someone playing shortly beforehand. The slow movement of his youthful 9th symphony is a flute solo from beginning to end, and demonstrates, for me, a real love of the instrument.

It's often occured to me that he loved the sound that a solo Flute adds to the colour of an orchestra (he very rarely used a pair in his orchestras: the Paris is, I think the only exception amongst his Symphonies) but disliked it as a "solo" instrument, playing the main rôle throughout an entire concerto or sonata. Nor did he use them much (?ever?) in his wind divertimenti - the Gran Partita for 13 wind instruments doesn't have a flute part, for example.

Quite interestingly () the other instruments for which he seems to think had no real potential as "solos" are the Trumpet and the 'cello - the very instruments that are used in Haydn's most famous Concerti!

[ostuni]

Nor did he use them much (?ever?) in his wind divertimenti - the Gran Partita for 13 wind instruments doesn't have a flute part, for example.

Well, no, but the Classical wind serenades & divertimenti rarely (?never?) used flutes: the basic ensemble was pairs of oboes, bassoons & horns, to which clarinets were often added (as in Mozart's lovely octet serenades, K375 & 388), and more horns, bigger clarinets, & double bass (Gran Partita).

But yes, lovely (single) flute parts in many of the piano concerti, too. Rachel Brown, also a one-time student of Lisa B's, has an interesting article on her website about Mozart and the flute: Mozart's flute.

[MickyD]

And what about the delightful flute quartets? I am very fond of the recording on Accent by the Kuijken brothers.