Raymond Chan informes about a funny fight between Jeanne Lamon, defender of period instruments performance, and -- at the opposite corner-- Pinchas Zukerman, who hates everything that concerns it (see Raymond's message dated 4/7/00). Here are some comments: 1) The death match suggested by Miss Lamon, in which two orchestras perform the same work alternatively in original and in modern instruments, and later the audience votes, is --at least-- ennoying.?Should I pay for hearing the same work played twice?. (A good matter of discussion for the thread "repeats"). I think that a controversy between these two views could be settled through some more interesting topics (and better arguments) than "who sells more CDs". 2) Miss Lamon is angry because, as she says, Pinchas Zukerman hasn't changed his interpretation of Vivaldi's "Four Seasons" in the last 25 years. Yes, all we know it, but that's his aesthetic choice. I don't see why is it "outrageous". You could criticise the interpretation in itself (personally, I don't like it), but not the fact whether he did or did not change it. Besides, Pinchas Zukerman has performed and recorded in these 25 years a much wider range of music than Miss Lamon, who has been playing only baroque works, always with the same intruments and practices. According to her own criterion, isn't it "outrageous" too?. 3) As I've said in other thread, performance in original instruments is just a different --and sometimes merely speculative-- approach to the music of some composers. I don't think that "original" performers have the last word about it (this is a fable that has been going around since many years). Let me say: I like original instruments very much (I've had some experience on it), and I love many original instruments recordings, but I don't reject older interpretations:or could someone say seriously that Karl Richter or Fritz Busch played a "false" St. Matthew's Passion just because they didn't use the "right" number of players and modern oboes?. (A question about the "right number of players" and the "right instruments"...how could you apply it in a work as 'Kunst der Fuge'?) 4) I repeat: I don't like Pinchas Zukerman playing baroque works. I'm not defending a "traditionalist" player against an "innovative" one. I just say that Mr. Zukerman and Miss Lamon should make love and not war... (an interesting child can born from it...) Pablo Massa [log in to unmask]