Hands up! Whose music do you really hate? A continuation...

I actually hate most of the posters to this particular forum, particularly Parla.  What a bunch of "haters" while actually missing the fun of the article.  I was looking forward to a lively discussion, instead I got exactly what his article was trying to avoid - a bunch of old ladies tsking somebodie's "impolite" comment that they don't absolutely adore a "great."

For me, I can live without particular instruments - the harp & harpsicord - the whole period instrument thing went way too far.

I am also strongly inclined towards smaller chamber works than longer-winded symphonies, even the "greats."

Do you behave this way in your everyday existence? Rising, that is, to every pointless banality and making things worse in the process?

Is there anything musical you haven't an opinion on because if there is I will start a thread on it even at the risk of attracting more detritus from the Brodskysaurus, thud, thud?

You always misread my posts. Are you dyslexic, in which case I will apologise?

Go back and you will see that I did not ask about your knowledge but whether there was anything that you did not have an opinion on.

You are, then, supposed to reply that, for example, you had no interest in any music written between 1801 and 1851 ( I wish) unless it was written by Beethoven, etc.

Telemann, indeed, one of a number of muzak composers that litter the 18th century with more rubbish than can be found in a football stadium after a game (oh dear, I've done it again - waits for response from lovers of Telemann's boring muzak to tell me I should listen to his oratorio on getting a good nights sleep before I pass judgement<yawn>).

I don't think that the question really is what music one hates or dislikes. In my experience it is more a question of music that you have not yet allowed yourself the time and effort to appreciate.

I used to not like the music by the Strauss dynasty, possibly due to an overexposure to New Years concerts with conductors who didn't really care. Then I stumbled across Fricsay's recordings in a 9 CD collection on DG. I still can't stop grinning when listening to that. And since my collection has been enriched with operetta recordings by Ackermann. Still smiling.

Another blind spot used to be everything composed before Mozart. It took Schwarzkopf's duetting with an oboe on a live recording of Bach's wedding cantata to restore my vision. Then somebody steered me in the direction of Ristenpart's and Fischer-Dieskau's version of Ich Habe Genug and since then Bach has become an obsession.

Recently, the lovely sexy voice of Janet Baker has convinced me that Handel's operas aren't for androgynous voices accompanied by sqeaky strings but any bit as potent as Tosca or Rigoletto. Yes, my Handel blind spot (I even hated the Messiah) is also going.

At the other end of the spectre, I will at some point get to Mahler who even Bruno Walter's 5th has taught me to enjoy. But I know that I am the one at fault here also.

Your joke fell flatter than a dead Brodskysaurus because you did not read my post.

So that is going to be your argument now is it, list a load of performers and academics to support your case, whatever it is?

It makes no difference whatsoever because Telemann and his mid-eighteenth century ilk bore me to death. They were the progenitors of muzak with their pointless notespinning tafelmuzak and the like.

So Harnoncourt can say what he likes as I will not give a damn.

troyen1 or Harnoncourt?  That's a difficult one.

I second this last statement of yours, Troyen.

Focus and debate on music, please.

Parla