These are some references from the net to certain happenings with Hogwood, and DM. The following seems to do with their experiences in Czechslovakia..
I (Hogwood) used to do some translating for Kricka, the son of the composer, a very elegant man, who ran the Supraphon records. I met Milan Munclinger and his group, Venhoda ... At Christmas. David Munrow came to see me--he was very interested to see what was happening here and they all came to talk to him because he was already quite known for medieval music playing. So we did a little show on radio, It was very mutual exchange.
ref There are many things to finish: interview with Chistopher Hogwood.
Czech Music,01-JUL-03,Brezina, Ales.
This little show on radio may be the same one which DM mentioned in a letter to someone in authority in the BBC, and which appeared in Humphrey Carpenters book entitled Envy of the World if I recall correctly.
Also, the following comes from Music in Schools Today. It is an interview with Nicholas McGegan who was into early music making, and references are made to Hogwood, and Munrow.......
...... I went to Cambridge University in England to do modern music and to compose. One of the things you have to study there, which is a course that essentially hasn't changed since the 16th century, is acoustics: how instruments work and how concert halls are built. The person who taught that course was actually a climatologist, but he privately collected 18th century wind instruments. I was a flute player in those days, so he lent me an 18th-century flute, which I still have. And he had a tenant named Christopher Hogwood, who lived in the attic and who played the harpsichord. Chris was not there very much, because he was playing with David Munrow and on tour with the Early Music Consort. When I got to play the one keyed flute well enough and Chris was in town, we gave some concerts together, and I joined his Academy of Ancient Music. So I started to do early music probably around 1970-71.
There was a certain amount happening in early music in England at the time -- most obviously old keyboards and viol consorts, which has always been an English gentleman's pursuit. So I just played a bit, went to Oxford to prolong the lack of reality for a few more years, played in Christopher's orchestra, met Trevor Pinnock, and worked for John Eliot Gardiner and Roger Norrington. In those days, I managed to write a lot of music history essays on composers like Alessandro Scarlatti without ever hearing a note of their music. Nobody performed it, and certainly nobody recorded it, except those rather dismal old Archiv records that were rather like bran muffins that were too good for you. The idea that you could actually play the stuff and enjoy it, or that you could sort of have a career of it, certainly in the late sixties was more or less unthinkable...