Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.1 exptools 1/6/84; site ihuxq.UUCP Path: utzoo!watmath!clyde!burl!ulysses!mhuxl!houxm!ihnp4!ihuxq!ken From: ken@ihuxq.UUCP (ken perlow) Newsgroups: net.music.classical Subject: Problems with "Bach to Bach" Message-ID: <1218@ihuxq.UUCP> Date: Tue, 18-Sep-84 01:18:55 EDT Article-I.D.: ihuxq.1218 Posted: Tue Sep 18 01:18:55 1984 Date-Received: Tue, 25-Sep-84 04:22:50 EDT Organization: AT&T Bell Labs, Naperville, IL Lines: 23 -- Were any other early music purists bothered by the "Bach to Bach" program? I thought that the choice of pieces was very poor to contrast authentic from modern interpretation. How come Hogwood's violinists played under-the-chin instead of off-the-shoulder? Some of those instruments even had chin rests. And he couldn't find a violone player? I thought only us semi-pros had to make due with a string bass. All in all, I thought the authentic consort was much more together and in tune than the modern consort, but then I'm prejudiced. Baroque oboist was fabulous! Baroque flutist very precise, but uninspired. Cooper was in great form. My vote for THE piece to distinguish modern from early instrumentation: Mozart Symphony #41. -- *** *** JE MAINTIENDRAI ***** ***** ****** ****** 17 Sep 84 [1ier Jour Sans-culottide An CXCII] ken perlow ***** ***** (312)979-7188 ** ** ** ** ..ihnp4!ihuxq!ken *** ***