Submitted by Name: Christopher Price From: Australia E-mail: Contact
Comments: I read with consternation the contributions by David Watkin and Ercole Nisini. Are they really suggesting that the only people qualified (or even able) to appreciate, evaluate and critique a musical performance are formally qualified musicians? Talk about treating your audience (most of whom would never be musicians) with disdain! Perhaps Mr Watkin and Mr Nisini would like to perform before audiences made up exclusively of musicians and musicologists. Or maybe they would really prefer to have no musicians and musicologists in their audiences, since then no one would have the right to evaluate their performances!
Added: August 23, 2011
Submitted by Name: Ercole Nisini From: Germany E-mail: Contact
Comments: Yes please, it would be at least fair to know about the musical background and credential of Mister van Veen since he feel free to publish his personal comments about the work of musicians. Please it is not desired to read any further negative comments on this website (and in social networks like twitter) about my work and that of my Ensemble. Thank you very much.
Added: May 6, 2011
Submitted by Name: David Watkin From: the world of dedicated musicians E-mail: Contact
Comments: I have just read with visceral shock your horrible comments about my performance of Bach’s 2nd Suite for Cello at Eisenach Easter 2000, on the Bach Cantatas website. I remember every heart-felt note of the 3 Suites and the Cantatas of those 3 days, and the fabulous singing. I am astonished that you feel my music making consists of ‘just playing the notes correctly’, and that you feel able to dismiss a dedicated musician so casually,in passing ‘I almost forgot’ Having read your opinion, I hoped to read about your musical background and credentials, but have searched the net in vain. Please do me the courtesy of letting me know at which musical institutions you have studied and at what level you have yourself performed, or where I can next hear you perform, so that I can better understand the nature of what you consider to be interpretation.
Added: April 27, 2011
Submitted by Name: Vincent Coma Roca From: Vic (Barcelona) E-mail: Contact
Submitted by Name: wayne jones From: UK E-mail: Contact
Comments: I read your review of Jaroussky's J C Bach album with interest and agree with everything you wrote. However, unless I'm mistaken, there are more recorded operas available than the two you mention. I think by La Clemenza di Tito, you mean La Clemenza di Scipione (I don't think he composed a Tito). Amadis des Gaules and Gioas Re di Giuda are also available. There are also live recordings (fairly easily available) of Temistocle, Alessandro nell'Indie and the serenata Amor Vincitore. When I first took an interest in J C Bach (about 15 years ago), there was next to nothing available in the UK other than some of his symphonies and piano concertos. I would, therefore, submit that there has been a great upsurge of interest in his work. While this slightly contradicts what you wrote, I am still grateful for your excellent and informed website.
Added: March 29, 2010
Submitted by Name: Oscar Williamson From: Los Angeles, Calif. E-mail: Contact
Comments: Good luck. I bought the new STILE ANTICO CD today. Of course, it is excellent!
Added: March 8, 2010
Submitted by Name: André From: Nederland E-mail: Contact
Comments: Hartelijk dank voor je geweldige werk. Ik lees het met veel plezier.
Added: March 2, 2010
Submitted by Name: Jose Enrique Pons From: Montevideo, Uruguay (South America) E-mail: Contact
Comments: Thanks a lot for your magnificent work. It is a privilege to read and enjoy it.
Added: December 31, 2009
Submitted by Name: Paul Vervenne From: Moen Flanders Belgium E-mail: Contact