Feedback
Christopher Hogwood welcomes feedback on any aspect of his work. He would also be interested to read your suggestions and comments on the recently improved website.
Christopher Hogwood should be contacted by email to hogwood@hogwood.org and business correspondence should be directed to office@hogwood.org
If you wish to leave any general website comments, please fill in the form below to leave a message on this page.
Name : Sebastian Pawlak
Email : s_pawlak@op.pl
Dear Sir,
In Warsaw, You showed me the best performance of W.A. Mozart - Symphony No.39 (KV 543) I have ever heard. Thank you.
Name : Jaroslaw Malanowicz
Email : jamalan88@gmail.com
Dear Sir, I would like to thank you cordially for wonderfull concerts in Warsaw Philharmonic. Playing b.c. i Haydn Nelson mass under your conductining was a reamarkable honour for me. With best wishes for future and with hope to play again Jaroslaw Malanowicz
Name : barbara lucke
Email : b.lucke@gmx.de
dear mr. hogwood,
thanks for the st.-caecilia-music, such a fine piece of music. i got a spirituell feeling, how deep and wonderful is the world, from the clear fount coming true beauty, pure joy. thanks from bremen
Name : Sonja Williams
Email : info@weinresonanzen.de
Dear Mr. Hogwood,
I was very lucky to see you conducting at the Beethovenhalle in Bonn today. I wish to tell you that I had a great time to see you conducting the Bonn Orchestra. - Thank you so much for this pleasure.
Best Regards - Sonja Williams.
Name : Manuel Ortiz
Email : Mas3acaci@yahoo.com.mx
Querido maestro Hogwood,
Felicidades por su aniversario y gracias por lo que nos ha ense
Name : David Zivan
Email : dzivan@aol.com
Happy Birthday, young man!
I hope this note finds you finishing off a glass of excellent grappa.
Many thanks for decades of inspiration and pleasure.
David Zivan
Indianapolis
Name : Michael Smith
Email : smith.michael@gmail.com
Happy 70th birthday to the ever-youthful Christopher Hogwood. Thank you for many years of musical elucidation and inspiration.
Name : Mark Powell
Email : markepowell@hotmail.co.uk
Dear Mr Hogwood,
When I purchased my first CD player, way back in 1984, I purchased with it just two CDs to start me off. They were two Handel works, by yourself conducting the AAM, though at the time I was new to 'classical' music and had not heard of the of the orchestra. Since then you and the Academy have given me the greatest musical pleasure that I have ever had.
Thank you,
Mark Powell, Southampton
Name : Mei Hurrell
Email : office@hogwood.org
My husband and I would like to thank you for coming to Hong Kong and giving a great concert. We come from New Zealand & I have admired & listened to your work esp. with the Academy of Ancient Music for over 20 years, so this is an opportunity to express our appreciation for the joy you bring to us and millions of people.
Name : Jacques Hostetter
Email : jacqueshostetter@orange.fr
Dear Mr. Hogwood,
Sorry for my poor English (I am French and absolutely not a musician, only a music-lover and an enthusiastic of Beethoven).
It is already a long time that I wished to give you this feedback about Beethoven Complete Symphonies with The Academy of Ancient Music (AAM) which, at time of their first release (about 1985), did not receive the merited acknowledgement (at the least in France!).
For me, your Interpretation with the AAM is absolutely unequaled. I often compared with other noteworthy records and I came always to the same conclusion: your tempi, your accentuations, the highest level of the musicians, the unity of the orchestra, the nuances, the shade and globally your vision of these outstanding works from classical repertoire, situate these recordings at the top of the top.
I have the complete collection in the original release from L'Oiseau Lyre which offers additionally the famous and natural DECCA-sound.
In other words, my selection for the lonely Island.
It is always with great excitement that I place these fantastic CDs on my Naim player.
Naturally I possess other CDs from AAM which bring me always huge exaltation.
Thank you very much for your fantastic work, all the pleasure and immeasurable emotion you bring to all classical music lovers.
Sincerely yours,
Jacques
Name : Michael Smith
Email : smith.michael@gmail.com
One of Christopher Hogwood's most useful editing projects has been his series of the chamber versions of Haydn's twelve London symphonies, 'ingeniously contracted' by Salomon for string quartet, flute and piano. Haydn enthusiasts near London have the chance to hear a performance of this version of Symphony 101 ('The Clock') at King's Place on 25th June given by RAM students, directed by Trevor Pinnock.
In a piece of enterprising programming, the other work on offer is Erwin Stein's fifteen-player arrangement of Mahler 4.
Name : Paul Gabler
Email : folia@chello.nl
I totally agree with mister Mathieu when he stated "Especially your recordings of William Byrds "My Ladye Nevells Booke" are such a joy to listen to over, over
and over again".
Many thanks for this milestone in music-performance
Name : Michael Smith
Email : smith.michael@gmail.com
Readers who enjoyed Christopher Hogwood's engaging performance of the first two movements of Prokofiev's Classical Symphony linked in the News page may like to know that the rest is available here:
http://v.youku.com/v_show/id_XMTM2ODk2OTA4.html
Name : Michael Ehrick
Email : mehrick@ameritech.net
Dear Mr. Hogwood,
I own and very much enjoy your three clavichord "Secret" albums (Handel, Bach, and Mozart). At one time, I believe there was mention of a "Secret Beethoven," but I have been unable to find it--on this site, or elsewhere. Has it been released, or is it still planned? For what it may be worth, if the commercial market is insufficient, I would be glad for the opportunity to purchase such a work as a downloadable .mp3.
Best wishes,
Michael Ehrick (USA)
Name : Patricia Yeiser
Email : lares-penates@hotmail.com
I just watched your London "Dido" and was much moved by the performance: the singing and orchestra were stunning, and even the dance - of which I generally am not a fan, unless it's authentic Renaissance and Baroque - incorporated some Baroque gestures. I did like the idea of conjoined witches and they accomodated one another very well. Dido's final aria was paced perfectly and as always, I am in awe of singers who can droop down and die on stage, have it look natural and sing beautifully. Jonathan Miller would be pleased: no operatic histrionics. The entire piece was well-conceived and kept me enthralled throughout. Thank you for your work. Patricia Yeiser, Syracuse, New York, USA
Name : Margit-Gabriele Berger
Email : MG.Berger@yahoo.de
Maestro,
dear Mr. Hogwood,
thank you very much for the
wonderful concert today with the RSO in the Liederhalle Stuttgart. I enjoyed this beautiful music very much and my farvorites are the old music.
With my best wishes and
warm regards,
Margit-Gabriele Berger.
Name : Bob Neill
Email : rlneill@comcast.net
I was just listening to Egarr's version of Handel's Opus 3 and as fine as it is, I felt something essential was missing. Went back to yours with the Handel & Haydn Society and found the missing element: vive! One of the greatest performances of baroque music ever made. Still available on Avie, I'm told. Your Messiah on L'Oiseau Lyre is also still the best.
Many, many thanks.
Name : Roger Adams
Email : rogeradams@mac.com
Dear Mr. Hogwood,
I have just read the wikipedia on your career and am interested to know how the project on the complete works of CPE Bach is coming on. The wiki states that it will be finished by 2014 but are there any recordings that have been completed and available on CD/DVD? If so, are you able to let me have a list of these available works?
Many thanks in advance for your kind response.
Kind regards
Roger Adams
Name : Michael Smith
Email :
Congratulations on the conclusion of the Handel opera cycle. The performance I heard last night at the Barbican was dazzlingly sung, with beautifully articulated playing from the Academy. Christopher Hogwood's hint in his Birmingham Post interview (see News page) that we might see some Handel from the 1740s is an enticing prospect indeed.
Name : Patricia Yeiser
Email :
Dear Mr Hogwood:
As to your letter to The Times, I don't recall that particular Ciceronian conceit: perhaps our magistra didn't wish to call our attention to the frivolous nature of the Orations. We were, after all, mere adolescents with wandering minds. On the other hand, it was her habit to go into the hall and summon latecomers to class using Classical Latin. It was an effective use of the Imperative.
Patricia Yeiser, Syracuse, NY, USA
Name : Stephan Mathieu
Email :
Dear Christopher Hogwood,
here is just a quick note to say *Thank You* for your wonderful work.
I'm a composer and performer of electroacoustic music with a deep love
for early music. My search for players who seem to really open a window
to those days has lead me to the Academy of Ancient Music and your
colleagues of the Consort of Musicke. What can I say, listening to your
recordings sometimes makes it even harder to find some quality time to
work on my things! But I certaily don't regret as your music is such a
wonderful source of inspiration. Especially your recordings of William
Byrds "My Ladye Nevells Booke" are such a joy to listen to over, over
and over again.
Although I'm not a skilled keyboard player in any way myself I started
a project called 'Virginals' two years ago. This is dedicated to
interpretation and early instruments, I'm performing special versions
of compositions by contemporary composers Alvin Lucier, Phill Niblock
and Francisco Lopez on an Ottavino built by Arnold Dolmetsch and a set
of four mechanical gramophones. A CD with this material will be
released by the end of the year on the London based 'Touch' label and
it would be my great pleasure to send you a copy once this is finished.
I didn't mean to bother you with any questions with this very
spontaneous message, but as the Virginals project is also dedicated to
you it would be very kind if you want to give me an address where i may
send a CD to.
In the end I meant to say thank you for the outstanding work!
With the very best wishes
- Stephan
Name : Rocío Sánchez
Email : Re. Dido and Aeneas
Dear Mr. Hogwood,
I have bought this version with Bott, Kirkby, etc, and it's great, wonderful! A very very good work, congratulations! I love that you have also used a boy sopran, Daniel Lochmann.
Your version of Mozart's Requiem is great too, with Westminster Cathedral Boys Choir.
Your work is excelent and the baroque-fans are thankful to you! HIgh quality!
Best wishes.
Rocío Sánchez.
Seville.
Name : Patricia Yeiser
Email :
Mr Hogwood: Today as I drove through the city on a sunny winter day, I listened to your performance with Handel & Haydn (my favorite American orchestra) of the Handel/Mozart "Messiah." ( I taped the live perfomance off-air in February of 1990.) The performance is absolutely astounding, and I'm ever in your debt for giving such a splendidly moving reading. Tanti grazii. Patricia Yeiser
Name : Eric Keller
Email : erickeller1@yahoo.com
Dear Maestro Hogwood,
I just wanted to thank you for (quickly) responding to my e-mail two months ago and suggesting early works that are good for the low voice.
I wanted to you to know that because of hard work and a little bit of tenacity, I am already performing a concert here in New York City, singing Bach's Cantatas Nos. 208 and 212, Purcell's Come ye Sons of Art (Birthday Ode for Queen Mary) and Händel's Ode for the Birthday of Queen Ann. As I told you in my last e-mail, for the last couple of years I have been dying to do oratorios and early music instead of singing just opera. I'm now finally getting that chance. I have also begun working on Messiah and Elijah.
Again, thank you for your help and I wish you a successful and busy 2009.
Sincerely,
Eric Keller
Name : Michael Smith
Email : smith.michael@gmail.com
Thank you very much for posting the interviews with Mark Wiggins. In particular, Christopher Hogwood's reference to the BBC's ambitious recording schedule brought to mind a couple of ambitious projects with the Academy in the early eighties: Telemann's Der Messias and Benda's melodrama Medea. The latter featured an incandescent performance by Barbara Jefford in the title role. O, to be able to hear it again!
Name : Jean-Claude Féret
Email : jeanclaudeferet@orange.fr
Hi...
I'm a professionnal chamber violinist, now in pension, but spent my life performing music from middle-age till contemporary, and as much as possible following the conventions of the time (for instance, I never played Prokofieff on a barok fiddle !).
I started investigating on Baroque since 1967 (reading many old texts), but on my own, since at the time I was in South Africa.
Later (1977) I extended that research till Mozart, and, soon after (1980) till Beethoven and early 19th.
As much for the instrumental tech as for the playing conventions...
I must say that since your publication of the Mozart symphonies, I do admire very much your production in that line, and am totally confident in it, even before to listen to it.
Therefore, I'd like to ask a question concerning a detail that I thought to be without any doubt or uncertainty: the trill.
According to all texts I read, Quantz, Corette, L'abbé le fils, Geminiani, Tartini, Couperin, etc... It always has to start with the top appogiature (to create an expressive dissonnance), the only tiny exception I know on that , is KPE Bach, in what he calls "Prall Triller", but only concerning very fast passages, where others would in fact only do an appogiature.
Of course, I mean that all this applies from the beginning of the 17th century, and to exactly 1825... in the 16th, trills where not that much in use, and anyway had a different meaning, and, as for that date 1825 that may seem a bit arbitrary, it is just according to Hummel, who said in the preface of his piano method:
"I know that the trills have to be always started with the top note, but I think it should be started on the note itself..." and then he spend a half page explaining why and how... and knowing that his method had a very fast fame, in the next 5 years, everybody was following his advice (but that did brobably not affect Beethoven nor Schubert who died in the next 2 or 3 years after).
Any way, my question is:
more and more among todays players (I mean the baroque so called specialists, and not even speaking of fakes like Biondi or Melkus), one hears trills played like romantic trills... even if the rest of the recordings seems close to the proper style (correct ornements, correct speeds, and so on)...
the first instance of such a thing was by a German conductor Reinhart Goebel, in a Bach overture, in the famous air, where the improvised ornaments were OK, but all the trills were started "alla Romantica"... even, there was there a text from Goebels to explain why he did so (but I must confess that it did not really convinced me)... later, I had a very well played recording of Scarlatti sonatas by Andrea Stair, where he, some times, did the same... also a recording of Biber sonatas, but the violinist was a pupil from Goebels, so...
More recently, I came across Your recording of Mozart concerto for flute & harp, and the soloists are doing the same... so, I hope I finally will have the answer to that question, and I'm prepaired to change my mind (if the arguments seem valid enough though)...
Thanks for reading all that, and I hope answering to it...
If in parallel you like to visit my site, you are welcome, here is the address:
http://www.jeanclaudeferet.net/
Thanks anyways for providing such a space for contacts
Name : joe
Email : joscavallo@sbcglobal.net
Mr. Hogwood:
I have the first 10 volumes of your exceptional work of Haydn's complete symphonies. However, the set is NOT complete. And the set lacks the best. This is a Haydn's-best-symphonies-sized hole in your work. Will the Haydn set ever be complete? Please make time for it. Hoping you do, and wishing the very BEST.
Joe
Name : Michael Smith
Email :
Thank you for making the music on the opening page an 'optional extra'. I think that music deserves to be listened to, rather than inflicted.
Name : Heinz Wallisch
Email : HeinzWallisch@home.nl
Article about Christopher Hogwood on Radio KLARA, Dutch-language program of the Belgian Radio, on Thursday, March 27 — on one of my websites:
'Tempel der Toonkunst' in the Netherlands.
http://tempeldertoonkunst.blogspot.com/2008/03/christopher-hogwood-bereidt-het-martin.html
If you keep me posted, I can write about the Martinů-year on several cultural websites in the Netherlands, Belgium, Germany and some English-language international weblogs.
Kind regards,
Heinz Wallisch
music and literary critic
Jupiterstraat 11
NL — 9742 ES Groningen
The Netherlands
Name : Guy Beddington
Email : guybeddington@orange.fr
A v.rare claverin dated 1570 by Domenicus Pisanensis is coming up for sale bu judicial order next week down here. U qaw Robin Boyle this AM
and thought to contact you. If you were unaware
or are interested in further details please let me know
Yrs
Guy B.
Name : Michael Smith
Email : smith.michael@gmail.com
By the way, I'm truly very fond of Martinu's Double Violin Concerto.
I'd really rather not hear the first half bar of it, however, whenever I come to check Christopher Hogwood's concert itinerary.
Michael x
Name : Michael Smith
Email :
Thank you for restoring the Food Counter archive.
Yours, salivating,
Michael Smith
Name : Terry Holmes
Email : terry.holmes@entuk.co.uk
Dear Mr Hogwood,
Many thanks to you and Hyperion for making me very happy today. I have waited twenty years for a CD recording of Martinu's lovely Double Concerto for Violin & Piano. It seems that Supraphon never saw fit to re-issue their recording which I owned on LP. No matter now that you have given us this splendid new recording which I hope will win the composer many new friends.
If you ever have some Czech singers at your disposal and the support of an enterprising record label - please, please, please consider another Martinu rarity, the enchanting Cantata 'Kytice ' (Bouquet).
Name : Bertram Heisl
Email : Heisl@online.de
Hello Mr Hogwood,
as one of your German admirers please let me know your adress to get an originally signed photo. Thank you very much in anticipation.
Yours
Bertram Heisl
Name : Mr. Mikael Hiort af Ornäs
Email : mikael.hafo@gmail.com
Dear Sir,
I wonder if I may use any of the wonderful photographs of You, that are available at Your webpage to illustrate the English Wikipedia Internet page on You (http://en.wikipedia.org/wiki/Christopher_Hogwood)? The photograph will of course be tagged with the name of the photographer, and Your name.
Yours Sincerely,
Mikael Hiort af Ornäs,
Uppsala, Sweden
Name : Michael Smith
Email : smith.michael@gmail.com
May I offer a warm welcome back to The Food Counter? I'd be even happier to see the older Food Counter articles in the archive...please?
Kind regards
Michael Smith
Name : Victor St.Denis
Email : victor.stdenis@homecall.co.uk
Dear Mr.Hogwood,I am trying to obtain a DVD of a performance by youself of Dido and Aenaes by Henry Purcell. This is for my grandson who needs it for his studies.I believe it was produced by Ms Kirby. As expected by a teenager he has given me little time to obtain the DVD. Hoping for a speedy response,Yours Vic St.Denis
Name : guillermo
Email : guillermomape@hotmail.com
estimado christopher, mi nombre es Guillermo Martínez y resido en Granada. Tengo entendido que Pablo Heras estudió dirección orquestal con usted en mi ciudad.
Quisiera conocer si hace algun típo de masterclass donde pudiera asistir, en granada o en España.
Reciba un cordial saludo
Guillermo Martínez
Name : Patricia Yeiser
Email :
Dear Mr. Hogwood:
At the suggestion of your website (I loathe computereese) I read your column in The Guardian (November 2003) about arbitrary shifting of intervals in opera. It reminded me of a section in Dorothy L. Sayers's "Murder Must Advertise": Lord Peter Wimsey is explaining the niceties of language required in the labeling of products, and describes the distinctions among with, from and chiefly, necessary to avoid litigation for libel. Perhaps productions to which directors (and in the USA,union scene-shifters) have taken, if not the hatchet, then the paper cutter, should be advertised thus: "La Clemenza di Tito," with parts by Mozart; "Orlando," from Handel; or " The Cunning Little Vixen," chiefly by Janacek. In any case, I enjoyed your column, which I assume is predominantly by Hogwood.
Yours sincerely, Patricia Yeiser, Syracuse, New York U.S.A.
Add. Chorus on toilets? How extremely tacky and more to the point, not Historically Informed.
Name : Barry OBrien
Email : barry@grace.org
I am trying to locate a Christmas CD that I lost and I do not have much information to go by. I know the conductor was Christopher Hogwood, it was recorded in a church in England with a chorus and consisted primarily of Christmas songs.
Would love to purchase somewhere if you can help.
Thanks.
Name : Elle Sophocles
Email : elle.sophocles@gmail.com
Dear Mr Hogwood,
I would just like to congratulate you on your excellent contribution to classical music. At the risk of sounding colloquial, keep up the good work.
Name : Ryan Burris
Email : ryan@ryanburris.nu
Hello Christopher Hogwood:
When will you be in Los Angeles California?
I would like to attend your performance.
Ryan Burris
Name : Wei-chin Chen
Email : b91101045@ntu.edu.tw
Dear Mr. Hogwood:
Congratulations on turning sixty-six! Sincerely I hope there could be more fine records and punlications coming out from you. Here I wish you good health and hope everything around you moves smoothly!
Sincerely,
Wei-chin Chen (Taipei, Taiwan)
Name : Florencia
Email :
Dear mr hogwood, Im argentina and Im in high school and mi music teacher told me you found the creation of Cristopher Hogwood but i can´t found it please help me to found it!
Name : Andrew Borisoff
Email : borisoffaa@mail.ru
Dear Mr. Christopher Hogwood!
I`m your fan from Russia. I was in your concert in Madrid (february, 2007)and was happy to listen to your performance of Mendelsohn symphony. I was impressed very much by your conducting. There is a intelligent group in Perm State University (Russia) that supports your views on the music and the way of performance. Sorry, the modern musical culture lives in crisis, and we can hear the ancient music only by the recordings. I know any time ago you visited Russia and played the concert, and even now it`s discussed among the Russian musicians. Thank you very much for your great work. I hope you`ll visit Russia more. My intent is to write that the Russians love you.
Sincerely yours,
Andrew Borisoff
Name : Wei-chin Chen
Email : b91101045@ntu.edu.tw
Dear Mr. Hogwood, and the Hogwood-Community:
I am quite excited to see such a new window here inviting anyone who see this site, who have questions and are interested in the information to have their spaces.
Among several updated versions of the web-site, I think I like this one the most. This is strikingly clear, and well managed. The colour themes in the site is really tasteful. Here, as someone who had visited the office and received kind help from the "community", could I suggest you put on the portrait and have a part in the site for the people get to know you? It would be nice to know more from the team, and surely better for the people to know whom to contact while we need help.
Sincerely,
Wei-chin Chen (Taipei)