The orchestra’s intonation was far too vague to allow speculation on matters on what tuning system they were attempting. In my understanding string players never use equal temperament unless they are in an ensemble with a piano. So Rose Jarrod’s point on “just intonation” was lost on me.

Being able to play “up tempo” is not about early music instruments vs. modern- it’s about security on whatever instrument is employed.

I would add more about the un-suitability of the Tower Auditorium for un-amplified music. In addition to its lack of support for the musicians, it emitted a constant drone from the air conditioning machinery which nearly obliterated any utterance below mezzo forte. It was turned off at my request after the interval.

The show had its charms, but disappointments as well. BMInt wishes BOC well and has reviewed them with enthusiasm in the past, but Boston has higher standards for early music orchestral performance than BOC’s pit band was able to muster on the day I attended.

The following phrase the author used is also misleading: “Besides, I understand that only a few string players actually played on old instruments.” Many of the instruments were actually quite old, but had been converted to modern standards (for example, performers that use genuine Amati violins today aren’t actually playing on 100% original models, simply because the necks have been changed to “modern” standards in order to make the instrument louder and brighter). Yes, not many Period instruments were used, but what the orchestra could muster was more than acceptable. As for choking up on the modern bow, it actually gives a fairly accurate imitation of a Baroque bow, thus there should be no complaints for that, unless all one is paying attention to is looks.

Also, playing “up tempo” has nothing to do with the instrument being used. Period instruments are just as easy to play at a quick pace (if not sometimes a bit easier, because of the tension of the Baroque bow and the angles of Baroque bridges differing from modern standards).

When considering tuning, take into account that the group and the singers were all performing at 430 instead of the standard of 440 (430 sounds at about a little more than a quarter tone flat than what we hear as 440). This of course could throw off what the listeners in the audience expect, and of course is an extremely large adjustment for ANY orchestral performer not used to playing at any other concert pitch. Thus, while there were some issues, they did an acceptable job and I commend them for being able to get it together as well as they did. From what I could hear, they were also trying to use “Just Intonation” which means that thirds in chords would be played lower than they normally would, as would leading tones. The lack of vibrato used in the string sections, which is common performance practice, would also make any discord or harmony stick out more than most listeners are used to.

I’m surprised that none of this was mentioned in the review–and I am sad that the author, who apparently studied music, even with the likes of Messiaen, failed to maybe notice this?

Either way, it was a lovely production. Certainly it had some bumps and blips that needed to be worked out, but it was charming and entertaining none the less.

For the record, BOC has been pleased enough with our reviews to post several excerpts on their website. I very much enjoyed their Carmen last summer, and the $25 price included a lively young orchestra playing normal instruments in tune.