On Wed, 18 Jul 2001, Michael J. Smith wrote, responding to Bradley's
> > Preference
> > is for performances that can be on unobtrusively in the background at work
> > or in the car, nothing too engaging or distracting.
> That's part of it, I think. But there are some local elements too.
Well, the Boston Area redio stations play a lot of early music, in all
varieties of performance. I usually hear them when driving, and I
generally turn them off. It is a long-standing theory of mine that the
commercial popularity of early music, such as it is, is related to it
being good for playing in the car, or in the workplace background. The
volume and intensity levels are steady, you don't get shocked into paying
attention by loud dramatic climaxes, it doesn't get so soft you can't
hear it over the motor noise. This sort of listening really fails to
interest me, I'd rather listen to an intelligent talk show, or a tape of
something that really matches my mood. Or just play over the music I am
working on, in my mind's eye. Reargue all the fights I am having with
friends. If I want music as brain candy, there are a million 'classic
> I hope Judith didn't think I was abusing poor hydriogyrant
'Hydriogyrant'? He likes to spin marine invertebrates around till they get
dizzy? What an odd hobby. Oh, you mean he crossed the water. This word is
not in my Webster's unabridged. We are all crossing the water our whole
lives through, we are making a passage that is straight and true. But I
have a question: I find that Jean-Baptise is in one of my out-of-cate
reference works with dates (1680-1730), in another with dates (1653-1728).
I have a vague memory that there was a Loeillet family with several
members, but my out-of-date reference works don't discuss this. Is there
anyone here with a subscription to 'Son of New Groves' who can shed light?
Judy (who thinks the recorder sonatas play like they were written for
recorder, but finds that the out-of-date reference works list him as a