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CherylNYC · 09-26-2014, 07:59 AM

Christopher Hogwood

http://www.nytimes.com/2014/09/26/ar...2RI%3A10%22%7D

Christopher Hogwood, whose Academy of Ancient Music was a key ensemble in the period-instrument movement, striving to perform early music as the composer intended and as audiences were first presumed to have heard it, died on Wednesday at his home in Cambridge, England. He was 73.

Rebecca Driver, a spokeswoman for the orchestra, said Mr. Hogwood had been ill for several months but did not specify the cause of death...

Mr. Hogwood, a conductor, harpsichordist and scholar for whom an “authentic sound” was paramount, co-founded the Early Music Consort, which focused on medieval and Renaissance music, in 1967, but the paucity of information regarding historically accurate performance styles troubled him. The Academy, which he established in 1973 as “as a sort of refugee operation for those players of period instruments who wanted to escape conductors,” initially focused on 17- and 18th-century music.

09-26-2014, 07:59 AM	#587
CherylNYC Member How Do You Identify?: Stonefemme lesbian Preferred Pronoun?: I'm a woman. Behave accordingly. Relationship Status: Single, not looking. Join Date: Jan 2010 Location: NYC Posts: 1,467 My Photo Gallery Thanks: 9,474 Thanked 7,150 Times in 1,206 Posts Rep Power: 21474852	Christopher Hogwood http://www.nytimes.com/2014/09/26/ar...2RI%3A10%22%7D Christopher Hogwood, whose Academy of Ancient Music was a key ensemble in the period-instrument movement, striving to perform early music as the composer intended and as audiences were first presumed to have heard it, died on Wednesday at his home in Cambridge, England. He was 73. Rebecca Driver, a spokeswoman for the orchestra, said Mr. Hogwood had been ill for several months but did not specify the cause of death... Mr. Hogwood, a conductor, harpsichordist and scholar for whom an “authentic sound” was paramount, co-founded the Early Music Consort, which focused on medieval and Renaissance music, in 1967, but the paucity of information regarding historically accurate performance styles troubled him. The Academy, which he established in 1973 as “as a sort of refugee operation for those players of period instruments who wanted to escape conductors,” initially focused on 17- and 18th-century music. __________________ Cheryl