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Haydn, illustrated

Jeffrey Gantz misinterpreted the goals of Chorus pro Musica’s performance of “The Creation” in his review (“Chorus pro Musica sheds no greater light on Haydn,” g, June 4). Betsy Burleigh, by presenting the piece in English with background imagery, took the liberty of appealing to the masses, members of the concert audience who are less musically educated than those of the past. In doing so, she brought Haydn directly to them and helped them through the process of understanding and enjoying the oratorio without compromising one aspect of the work. It was brilliant and 95 percent of the enlightened audience loved it.

CATHERINE CARNABUCI

Former Director of Music, Quincy Public Schools

South Easton

Fischer-Dieskau, explained

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Re: “Recalling the master of German art song” (Arts, May 27): Thanks to Jeremy Eichler for that excellent article. It seems to summarize Dietrich Fischer-Dieskau’s work perfectly, and expanded my knowledge of his contribution to lieder. I heard him in London in the ’50s, and was brought to tears by his rendering of Schubert and Schumann songs. Up to hearing his concerts, I had not appreciated lieder at all.

Eichler’s articles are among the few remaining thorough commentaries about art and books in the Globe, and I appreciate his work very much.

IRENE SCHNELLER

Winchester

Letters for publication should include the writer’s name, address, and daytime phone number for verification. Send to arts@globe.com or Letters, Living/Arts, The Boston Globe, PO Box 55819, Boston MA 02205-5819.

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