dambly

Hi Robin,

Good points, and interesting examples -- thanks. I had no idea that ASMF was using different instruments while the late Iona Brown was leading them; would that have included natural trumpets? (I had the pleasure of seeing them perform Baroque music a few times in the '80s -- on modern instruments -- and just assumed that they stayed modern.)

I think your example of Philadelphia in the Ormandy era (not to mention Chicago in the Herseth era) is exactly what Ed is talking about when he waxes nostalgic "...for the days when orchestras and solo performers sounded not so bloody much alike."

I like your optimistic view and your ideas about Pictures and the Weinachtsoratorium -- of course, similar ideas could apply to other repertoire. Perhaps in their quest to stay relevant, more orchestras and ensembles will encourage versatility on the part of their performers. Would that help lead us back to the diversity of sound that Ed laments?

Regarding the "cult of perfection" and how that might impact sonic innovation -- that topic might be big enough to warrant its own thread...