>....good examples of the problems inherent in church acoustics

Which brings up something I've been thinking vaguely about since leeneia started the thread: the appropriateness of repertoire to the acoustics (read, architecture).
You wouldn't think of seriously performing brass ensemble music on a piano, or harp music on a concertina (yes I know there are exceptions). But people charge blithely ahead trying to perform fast, busy music in the sorts of grave, reverberant spaces that gave birth to Gregorian chant, and vice versa. No sound engineer can fix that mis-match.
How much should we allow architecture to drive our selection of repertoire?
(Now, having committed severe thread creep, I contritely retire....)
-Glenn