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Correct me if I'm wrong but HIPP means Historically Informed Performance Practice. Surely it means the Performance is Informed by the Practice of using Historically 'accurate' instruments. It doesn't mean that the instruments are necessarily historically accurate copies of those used in the composers' times or are actual instruments from those times.
Therefore, because Levin often/normally plays Period Instruments his performance on a modern Steinway may still be thought of as HIPP.......as performance by many artists may be who don't always play Period Instruments, but are often described as playing in a HIPP way - I'm thinking of a lot of violinists here....a Strad's a 'period instrument', but may, or may not have period (gut) strings or period tuning, but even with steel strings and modern concert pitch the artist may give a HIPP performance if he or she applies techniques learned from playing on 'Period Instruments'.
Surely a better acronym for those Performances that are played on Period Instruments should be PIP (Period Instrument Performance).....leaving HIPP to do what it says on the tin, irrespective of the historical 'accuracy' of the instruments used.
I like it, but it might lead to groups vying to PIP each other to the post, to be the most HIP(P).
I like it, but it might lead to groups vying to PIP each other to the post, to be the most HIP(P).
Neither PIP or HIPP....or Hip come to that, I shall always return to my Beaux Arts '66 recording of the Schubert Trios, conveniently coupled with the Grumiaux Trio's recording of the String Trios on a Philips Duo. This may be a PR (Period Recording) but still sounding good....lovely light touch when needed by Menahem Pressler. Playing this again, it has to be my first choice.
Six contenders for today's La Tribune just posted...
A. Busch Trio (2020)
B. Tetzlaff/Voigt (2021)
C. Guarneri Trio Prague (2003)
D. Sepec/Dieltiens/Staier (2015)
E. Capuçons/Bralay (2006)
F. Trio Esprits (2018)
Anyone looking for their favourite 'historical' ie. earlier than the 21st century will be disappointed........Wot no Beaux Arts!
Restricting themselves to a clearly defined bit of the catalogue is a very La Tribune thing to do I think, and very sensible rather than pretending to encompass the entire discography!
Would that a certain other programme, not even half as long, might take note.
Restricting themselves to a clearly defined bit of the catalogue is a very La Tribune thing to do I think.....
Yes but restricting themselves to defining the recordings chosen by recording date makes no sense...they're not of the same 'type'....as the Staier proves.....another 'token' period perf.?
And again I find myself at odds with the the majority of the panel. I find the Busch Trio too forceful and astringent. To me the Tetzlaff/Tetzlaff/Vogt is more flexible and insightful. One for the wishlist. I'm totally with the restricted choice.
And again I find myself at odds with the the majority of the panel. I find the Busch Trio too forceful and astringent. To me the Tetzlaff/Tetzlaff/Vogt is more flexible and insightful. One for the wishlist. I'm totally with the restricted choice.
I tend to agree having now listened to all of the Busch Trio.....when they played the first example my initial impression was of a touch of harshness to the strings. My favourite 'unknown' was the Trio Les Esprits on Sony, and I've just started listening - the download (via Qobuz) starts with the Arpeggione sonata and sounds very good.
Le Schubert appuyé du Trio Les Esprits, l’émotion complice du Trio Busch : Jérôme Bastianelli, Fabienne Bouvet et Isabelle Werck élisent la version de référence du Trio n°1 de Franz Schubert.
It was a perfect programme, as far as this listener is concerned, in that all objects were achieved. It's not necessary to elect the greatest recording of all time in order to examine the vital aspects of the work.
It was a perfect programme, as far as this listener is concerned, in that all objects were achieved. It's not necessary to elect the greatest recording of all time in order to examine the vital aspects of the work.
Yes, it was very good. They pre-announced that they would only be examining works recorded in the last twenty years.....but I do feel a pang of regret that a 'classic' like Beaux Arts or Thibaud-Casals-Cortot couldn't be in tne mix.
Next Sunday Elgar's 'Enigma'....now that could be interesting!
Considering it was my place of work, yes, the record (and CD!) shop was the lesser of a lot of evils!! Although there were a few 'awkward' customers!
No, no audience, the ones done in front of a live audience are a rarity now. But I think there's one coming up soon.
I've just discovered the Trio Esprits 2 CD set on my shelves which I'd completely forgotten that I had bought (must have been in HK as it's a Japanese pressing) and have rather enjoyed it, despite its rude dismissal by the stuck-up and over-opinionated panel. What do they know ....
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