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From Perotin to Prokofiev (and beyond), performed by Caruso to Khatia, it's all here.

No matter...

I wasn't commenting on the condition ("if"), only the projection that the writer was making regarding Beethoven's mindset. I'm not comfortable with suppositions like, "If Beethoven heard Stravinsky, surely he wouldn't like his compositions." I am also not comfortable with, "HIP is a more accurate representation of the period performance style" -- it's the same hypothetical, to me.

"Make sense" is plain enough. The instruments existed, we either have them or can make copies, we make recordings with them.

Elsewhere in the thread, the idea of "degrees of HIP" is presented. That sounds about right. For example, having recently heard a segment of a Handel opera recorded back in the early 1960's or thereabouts -- that is, with big modern orchestra forces and romantic operatic vocals -- the whole thing sounded like goulash -- too big and thick. I just didn't buy it!;-)

You have the right to not like HIP and historic instruments. I don't like HIP all of the time (especially when it outright distorts the composition) and, yes, a harpsichord can be a disaster. But this is very conditional. For Baroque and Renaissance works, 90 percent of my listening is period instruments (100 percent for baroque opera).

Speaking of "low blow," I still think that the writer of the review shouldn't have been the writer of the review. Honestly, it feels like a pizza guy is preparing my sushi. Sorry!:-)


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