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<body class='hmmessage'><div dir='ltr'>> Thanks for your contribution. I read it with a smile on my face<BR>
> from beginning to end.<BR><BR>
Glad I could provide a small useful service, Stephen. (And for anyone<BR>
else amused...)<BR>
<BR>
Re the "nice but no cigar"--ok, ok, I'll hit the public library tomorrow<BR>
for a copy to refresh my neuron about it over the holidays.:) As for "3<BR>
is in trouble in the first phrase," was it Vasili Byros who gave an SMT<BR>
presentation 2 years ago on where the hell that C# comes from, that<BR>
it's part of a schema pattern that was completely forgotten about by<BR>
40 or so years later? I hope he, or whoever was the speaker, can tell<BR>
us the story.<BR>
<BR>
>...the climax of the first movement still scares the hell out of me.<BR><BR>
Tying in to your bonus question about Mahler, the climax of the Eroica<BR>
1st movement doesn't scare the hell out of me--the climax of the 1st<BR>
mvt. of Mahler's 10th does! (Think seeing a mushroom cloud appear...)<BR>
<BR>
>Don't we all have a problem with 6, 7, and especially 8.<BR>
<BR>
I need to relocate the cite (assist, anybody?), but I remember that GM<BR>
grouped -those- 3 together, not the 5/6/7 tag that everyone seems to<BR>
use (for no good purpose to my mind). Re "having problems" with them,<BR>
we could, ahh, have a very lengthy conversation.:) I agree there is muy<BR>
mucho interesting analysis still to be done on them; and for too many<BR>
years I've had some work on the 7th back-burnered due to, among other<BR>
things, being one of the long-term unemployed (as in, not even a day-job<BR>
for nearly 4 years...).<BR>
<BR>
Now, -#4- for the longest time I simply abhored, despite GM being my<BR>
absolute favorite composer. The "Aha!" moment came (about 3:50am<BR>
while driving to SMT'99...) when the final movement began on the radio--<BR>
and after a minute of puzzlement as why it sounded different this time, I<BR>
realized that the soloist was a _boy soprano_. The recording was Lennie<BR>
and the Israel Philharmonic; and ever since, I've felt the only way for that<BR>
piece to be done properly is to have a child, boy or girl, sing the finale.<BR>
(Mind you, I still don't like little kids; it's just that the 4th sort of works<BR>
for me now--despite 1st mvt. structural annoyances--if one is the soloist.:)<BR>
<BR>
>And, yes, it is puzzling why a composer as great as Beethoven would<BR>
>write four overtures for the same opera.<BR><BR>
Even the gods sometimes screw up first (or second) drafts.:)<BR>
<BR>
Art Samplaski<BR>
Ithaca, NY<BR> </div></body>
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