Mozart in Period Performances (HIP)

[Opus106]

No problem, I just wanted to nip that "quasi-PI" thing in the bud before it became accepted gmg terminology.

I should think that quasi- or pseudo-HIP would serve better depending on the recording (and the opinion of the speaker ).

[DavidW]

I should think that quasi- or pseudo-HIP would serve better depending on the recording (and the opinion of the speaker ).

Well the thing is what is quasi-HIP?  It's so vague that it's useless.  It seems very easy to throw that label onto nearly any kind of modern performance.  What one person considers quasi-HIP another might not.  When you think about it to some extent everything is quasi-HIP.

But my objection isn't to that, it's to "quasi-PI" which is different.  The only way something could be quasi-PI is if part of the orchestra used period instruments and the rest used modern instruments (like Herreweghe and the Royal Flemish Orchestra performing Beethoven).  That is very different from quasi-HIP and not many recordings are quasi-PI.

[Franco]

I guess people have begun using the abbreviations PI and HIP interchangeably; and adding "quasi" to either implies a hybrid approach like the Beethoven/Jarvi recordings (using modern instruments but with a HIP interpretation).

[Opus106]

I guess people have begun using the abbreviations PI and HIP interchangeably; and adding "quasi" to either implies a hybrid approach like the Beethoven/Jarvi recordings (using modern instruments but with a HIP interpretation).

I don't use PI because I was introduced to the descriptor HIP as something (a recording or a performance of music) which employs period instruments and some amount of academic research into the performing techniques of the period. Therefore, as you rightly point out, quasi-HIP to me is the "hybrid approach," an example of which is the Carmignola/Abbado recording.

[Bulldog]

I don't use PI because I was introduced to the descriptor HIP as something (a recording or a performance of music) which employs period instruments and some amount of academic research into the performing techniques of the period.

The problem is that an increasing number of folks use HIP to denote modern instrument performances possessing a HIP sensibility.  So I stopped using HIP and try to remember to use PI exclusively.  It's just a communication issue.

[Opus106]

The problem is that an increasing number of folks use HIP to denote modern instrument performances possessing a HIP sensibility.  So I stopped using HIP and try to remember to use PI exclusively.  It's just a communication issue.

Yep. I noticed Que recently (did he start just now?) using HIPPI.

[Gurn Blanston]

I don't use PI because I was introduced to the descriptor HIP as something (a recording or a performance of music) which employs period instruments and some amount of academic research into the performing techniques of the period. Therefore, as you rightly point out, quasi-HIP to me is the "hybrid approach," an example of which is the Carmignola/Abbado recording.

PI is rather less compromising than HIP in that regard; period instruments (and reproductions) is period instruments. No hybrids need apply. This is no slight to HIP/Hybrid, it is instead a tribute to the sound of PI. Thus, you can't really BE quasi-PI.

[George]

PI is rather less compromising than HIP in that regard; period instruments (and reproductions) is period instruments. No hybrids need apply. This is no slight to HIP/Hybrid, it is instead a tribute to the sound of PI. Thus, you can't really BE quasi-PI.

Sure you can:

[Franco]

Actually, that qualifies as quasi-HIP ...

[George]

Actually, that qualify as quasi-HIP ...

And quasi PI, as he was only one on TV.

[DavidW]

And quasi PI, as he was only one on TV.

I thought he was quasi PI because he was part PI part swinging bachelor.

[George]

I thought he was quasi PI because he was part PI part swinging bachelor.

You sound like Higgins. 

[DavidW]

You sound like Higgins. 

haha yeah that I do.

[George]

haha yeah that I do.

I'm gonna have T.C. take care of you. 

[SonicMan46]

I've got Mullova, Manze, Kremer and Huggett, who no one has mentioned, and the only complete set I own.  I like them all, but find Huggett's poise very suited to these works.

 

Coming in late to the Violin Concertos discussion - the Huggett sounds like a good PI instrument choice and the price is RIGHT!  I have two sets of these works, the older traditional but excellent Grumiaux  and the more recently recorded Carmignola & Abbado w/ a PI group - 

[Coopmv]

Here an interview with Christopher Hogwood on HIP Mozart ...

[Opus106]

Here an interview with Christopher Hogwood on HIP Mozart ...

Thanks, Stuart. That was a short but informative interview with Hogwood.

[DavidW]

Yup that was interesting, especially the part about the tempi of the minuets at the end.  I guess Pinnock's more brisk pacing is closer to accurate then?

[Opus106]

Yup that was interesting, especially the part about the tempi of the minuets at the end.  I guess Pinnock's more brisk pacing is closer to accurate then?

I haven't heard Pinnock, so does he apply the brisk pacing throughout the works or does he do so selectively, i.e. only to the minuets? I'd think it would be a good approximation only if it's the latter case.

[Gurn Blanston]

Yup that was interesting, especially the part about the tempi of the minuets at the end.  I guess Pinnock's more brisk pacing is closer to accurate then?

Minuets are nearly always performed more slowly than they should be. I like Pinnock's efforts there. The Classical minuet was not intended to be danced to, it was a scherzo in all but name.