From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Newsgroups: rec.music.classical
Subject: in praise of Harnoncourt (was Re: Harnoncourt and Svedja
Date: 20 Dec 92 22:40:12 GMT
Organization: HAC - Johns Hopkins University, Baltimore

In article <Dec18.182047.62365@yuma.ACNS.ColoState.EDU> hurben@lamar.ColoState.EDU (Mike Hurben) writes:
>  I have noticed that many people express some interest in Harnoncourt and
>his Beethoven symphonies.  I have only heard a few of his interpretations,
>mainly from "The Record Shelf."  As you probably know, Jim Svedja regards
>NH as "an incompotent bozo," and from some disgusting Baroque recordings I
>heard, I would have to agree - I heard some Handel on period instruments that
>was just comical...  So I am very curious how this guy does Beethoven.
> [...]  So if I am suspicious of NH, it is
>not because JS does not like him, but simply because I have heard only rotten
>music come from him.  What do you think?

Well, I would like to offer a kind word on behalf of Nikolaus Harnoncourt...

I know only a few recordings of his.  The only one I really don't like is
Castor and Pollux by Rameau: Harnoncourt's recording is incredibly dreary
and uninspired--I think anything William Christie does with Rameau is far
superior (or Edward Higginbottom, or Marc Minkowski).

On Haendel, I like his Belshazzar, but I prefer Hogwood's work on the Haendel
operas.  For Bach, as I mentioned in a separate posting, I like his Matthew
Passion very much.  There are recordings of the Brandenburg Concertos, and 
the integral of the Cantatas, of which I know only a few, but the No.4 is
amazing.  

Monteverdi: il Combatimento di Tancredi e Florinda sends shivers
down my spine everytime. The CD als ohas a few other madrigals, including 
the beautiful Lamento della Ninfa, sung by Ann Murray, Philip Langridge
(her husband), Kurt Equiluz and **: beautiful balancing between the 
small chorus of (male) narrator and the distraught nymph cursing the one
who betrayed her, and as she weeps, and recalls her lover, and his kisses,
and her passion flares up again, they sing "miserella" in punctuation, until
she falls again back to reality. Dramatically, it is very similar to 
Gretchen am Spinnrad by Schubert (und ach, sein Kuss!...). Anyway, beautifully
sung and accompanied by NH and his CM.  Also, there are the two operas: 
Orfeo, and il Incoronazione di Poppea. I am more familiar with the latter,
and I find it beautiful, lively, spirited, sharp, exact, very well sung and
never overdone.  For a work from the dawn of time (as far as opera is 
concerned), it is brought back to full life with full colors, and seems
fresh as ever.

I have heard him conduct Mozart symphonies in Paris a while back, quite 
pleasant. His is interesting to watch: very sharp, energetic but contained
movements, and a touch of humor. ObAnecdote: in Paris, some people try to 
flaunt their knowledge of the music by being the very first to applaud at
the end of a piece (applauding between movements is grounds for immediate
expulsion): in a Mozart symphony, someone fooled by an unexpected da capo
began applauding taoo early. Without missing a beat (literally), Harnoncourt
turned around and imposed silence with his hand, as if he were conducting
the audience and bringing back in line some wayward player.

-- 

	Francois Velde