Donald Satz wrote:

>The orchestras cited so far, although superb, aren't worth much when it
>comes to Baroque music.  So, here's another list to cover further bases:

This is fun!  And a good list, but in the nitpicking tradition of MCML, I'd
add a few more, like L'Europa Galante, Tafelmusik, Orchestra of the 18th
Century, Orch.  of the Age of Enlightenment, La Petite Bande, and of
course, Les Arts Florissants.

The only caveat to all this is that in more cases than certainly happens
with the big symphony orchestras, a LOT of the personnel in the Baroque
groups can be the same.  They tend to migrate from a gig with one Olde
Bande to another.

And these are just the Baroque orchestral groups.  Start in with the other
Early Music instrumental ensembles which do older music and which have a
much more ad hoc instrumentation, and the list could go on for another
dozen or more.

>As an aside, could someone explain to me the huge appeal that the
>classical music audience has for orchestral music? I've never been able to
>figure that one out.  Classical music would be a significantly less costly
>proposition if those large orchestras and halls didn't have to be paid for.
>Example: take Mahler's Symphony of a Thousand and knock off two zeros.

While the CM majority is perhaps still into the 1800s orchestral warhorse
mentality, I don't think that the exclusivity is nearly what it used to
be, and is steadily shrinking.  Otherwise there wouldn't be the number of
Baroque groups, EM and contemporary groups, vocal ensembles etc.  that are
active nowadays.  If that wasn't the case, you'd still have the musical
equivalents of the Berlin Philharmonic and the Mormon Tabernacle Choir
trying to perform the odd Schutz motet, maybe once in a decade.

Sometimes the good ol' days weren't as good as we remember.

Bill H.