Dear Mr Christophers:

Thank you for recent and warm letter to subscribers. The opportunity for reply allows me to express the opinion that both chorus and orchestra are performing at even finer levels of precision and co-ordination above the high standards, as a subscribers, we expect; this struck me powerfully at last spring’s Bach concert. Needless to say, you have in Boston many grateful appreciators of your brilliant recorded work with the Sixteen; you have not yet disappointed us in person!

Page Nelson

Dear Mr. Director,

It was a pleasure meeting you and Rachel Podger back stage after this past Friday's all Mozart program, thanks to the good offices of my friend Krista Buckland-Reisner.

I haven't seen it yet, but from what our mutual friend Ian Watson tells me, the Boston Globe's critic was not overly generous in the Saturday Edition's review. I want you to know, therefore, for what it's worth, that I heartily disagree with him. From my vantage point, which was 3 rows back right of center, it was a superb performance.

I wonder if he knew enough to take into account the fact that a Mozart size ensemble cannot overcome the innate limitations of a cavernous hall like Symphony Hall, which was designed for the huge orchestras and the higher pitched louder instruments that had become the fashion at the time it was built?

Ian also said that he took a side swipe at Rachel Podger's playing to the audience. I had never heard her live before Friday so I didn't know what to expect, but although I am not swayed one way or another by theatrics, in this instance, I thought her general stage presence and interaction with the both the ensemble and the audience added to her performance. One can't say for sure, but from what we know Mozart played to his audiences, and I doubt that Mr. Eichler finds fault with Joshua Bell's showmanship.

I certainly hope that this will not make it impossible for you to get Rachel back here. It is rare indeed to get to hear a player of her caliber. I doubt that you or any other really knowledgeable person would find vigorously disagree with my opinion which is she is the best at what she does, namely baroque and early classical period violin.

By the way, if you speak with her please ask her to get her own website.

Hope to see you again.

All the best,
Bill Hamilton

Dear Director Harry Christophers,

I just want to mention how amazing the interpretation of the Messiah was this past December. It was an unforgettable experience. I also wanted to make you a suggestion, please record the Messiah with the orchestra and chorus, because I think that would wonderful to have on record. Not that I won't attend the concert whenever I can, but to have a CD or a DVD of you guys interpreting it, as you masterfully did it last year will be a plus.

Thank you.

Best wishes,
Louis Benavides

Dear Maestro Christophers,

I am a conservatory trained singer and conductor who first saw you conduct Messiah with Handel and Haydn in December 2007 and was on the edge of my seat the entire evening. The vitality of sound which you extracted from the ensemble was truly awe inspiring. Messiah is one of my favorite works and to hear, with clarity, such nuance in the phrasing of choruses like "He Trusted in God" or the crisply defined sixteenth notes of the "Hallelujah" chorus, made me not hesitate for an instant in purchasing your ensemble's newest recording of the work. I purchased it through iTunes, and one of the unfortunate results is the lack of liner notes or credits.

For me, one of the most brilliant aspects of the recording is the continuo section you assembled. The selective use of theorbo, for instance. But, by far, the outstanding member of the section was the harpsichordist. Two particular numbers of note are the cadence of the A section in "Why do the Nations," and the flourish after the first entrance of the oboes in the "Arrival of the Queen of Sheba," which you so generously provided as supplement to an already elite album.

I realize this may seem like an absurd query to address to such a busy fellow as yourself (I apologize!). Is there any chance you would be willing to provide me with the name of said harpsichordist? I would love to hear more.

It is such a thrill and privilege to have your presence in Boston with Handel and Haydn! You have a beautiful sense of phrasing and texture and are quite an inspiration to me.

All the best,
Garrett

Kind Sir:

I just heard on satellite radio a recording of the Handel and Haydn Society singing "O Magnum Mysterium." It was a contemporary arrangement with woodwinds and a percussion player on chimes. I am sorry to say the station did not show who the composer was. Can you tell me who the composer of this beautiful arrangement was?

Thank you for you your kind attention to my request.
Louis

Harry Christophers:

I enjoyed the performance last night. The Piano Concerto no. 21 in C Major, K. 467 by Mozart, I enjoyed the most.

-R.L.

Maestro,

I was delighted with your appointment as Artistic Director of Handel and Haydn. I must confess that I had not heard of you prior to hearing you conduct Messiah two years ago. Yours was by far the best performance of Messiah of the very many that I have heard over the years (not going back all the way to 1818, but as far back as Thomas Dunn's time). Here is a small suggestion. In years past, the program notes for Handel and Haydn Messiah performances mentioned which of Handel's versions was being performed. I always follow the performance in a reduction score, and I have enjoyed annotating the variations. While it is enjoyably challenging to try to figure out which version is being performed from my annotations, I would be very happy if Handel and Haydn resumed the practice of identifying the version. Thanks very much. I very much look forward to your leadership of the Society.

-Art