Apollo’s Fire were engagingly spirited (though far from note perfect) and I too enjoyed the director’s comments. How can one be bored with Bach in all his variety? I particularly liked the viola leads and clarity of textures in the great 6th concerto. I disliked the mannered pauses in the opening movements of the 3rd and 5th,, but other movements, e.g. the joyful last movement of the 5th, came off very well. The 2nd was much too fast, particularly for the valveless trumpet — it’s not just a sports event! Rod Little

There was charm in this concert: a group of young musicians, making their way in a difficult field, played the five concerti in a refreshing, brisk manner — not always with much character. But then the role of character is a matter of debate in performance circles: how should Bach really be played? Minds are divided on this. The Apollos played the slow movements lyrically and the wing movements fashionably over-fast. Which means that you will hear some runs slurred and uneven. The short sweet talks by the leader were also charming – a model for other conductors. Audiences seem to like this sort of connection with the stage.

But, yes, I admit it: my attention began to flag about 10 minutes into the second half of the program. And I can’t believe that many others managed to stay the course, mind and ears sharp all the way.

Why schedule works exclusively in one format, written by one composer in one style as the only fare for a whole afternoon’s concert by such talented players? As programs go, this is a bit of a stunt. I can see why a group of musicians might want to tour with such a program and sell its CD at the same time. But will such homogenized programs – such stunts — keep old audiences loyal and new ones interested? Honk if you prefer diversity.