"JohnGavin" wrote in message
news:d08e55d8-adea-419a...@googlegroups.com...
On Tuesday, May 21, 2013 7:40:18 PM UTC-4, David Fox wrote:
>> You have the perfect right to dislike The Doors to your heart's
>> content, but that doesn't mean that you should extrapolate your
>> tastes into any type of global pronouncement of quality. There are
>> millions of Doors fans spanning almost 50 years, with millions more
>> added to their ranks every passing generation. There are also many
>> out there who feel the same way about our moldy/oldy music, and
>> they are as wrong as you are.
> The point might be that a great deal of "our oldy music" is not moldy
> at all -- that is proof of its greatness. Bach and Scarlatti, for example,
> sound totally fresh 300 years after they composed their music.
> Will the Doors be as relevant in 300 years???
As a classical snob, let me play devil's advocate...
Who knows what will be popular in 300 years? Until (roughly) Mendelssohn's
time, there was no particular tradition of performing music by dead composers.
Bach had largely been forgotten, and when thought of, was thought of as
old-fashioned. People wanted "new" music.
One of the reasons classical music is considered great is because people /say/
it's great. If people didn't think it was great, they would (probably) not be
able to hear those qualities that make it appealing. ("Appealing" seems a more
value-neutral term than "great".) The same is true of jazz. People still
listen to 90-year-old jazz recordings, because they are considered
significant, meaningful music.
If Ray Manzarek's music is held up as a model of "great" music, it's likely
people will continue to listen to it, and those who like will express surprise
at the lack of appreciation of those who are indifferent to it.
Tastes vary. In browsing old issues of "High Fidelity", * I found an article
by Dana Andrews. He loved Romantic music, but simply could not enjoy Classical
music -- not Haydn, not Beethoven, not even Mozart! This seems beyond
comprehension.
I could say more, but will stop at this point. Let's have some fun discussing
this further.
* The browsing is fascinating and addictive. The names of most conductors and
performers -- even from 50+ years ago -- are immediately recognizable. The
most-conspicuously absent composer is... yes, Mahler. Several of this group's
contributors have confirmed that Mahler's works were commonly performed in
Europe in the first half of the 20th century. It is my contention that
Mahler's popularity on phonograph records dates from the introduction of the
LP -- and far more importantly, the stereo LP (as, it seems to me, Mahler is
most appealing in stereo). I want to see if there's a meaningful uptick in
popularity circa 1960, when most classical listeners had converted to stereo.