HERMANN...

[MELMOTH]

On April 28, 1965, Hermann Scherchen wrote to his wife Pia Andronescu:
/This evening I have rehearsed MY Art of Fugue, which I have carried
with me for 36 years and which makes me happier every time/ (NB:
Scherchen is rehearsing his orchestration, which will have its world
premiere at the Apollo Theater in Lugano on Friday, May 14).

For Scherchen, Bach's "almost" last unfinished work will have been a
key work in all his musical activity, to such a degree that, after
having played the instrumentations of Graeser and Vuataz, he will have
felt the need to write his own and to give it in concert during the few
months he had left to live.

The /Art de la Fugue/ is certainly the crowning achievement of the
didactic works that marked JSB's life (/Clavier bien tempéré, Offrande
Musicale, Variations Goldberg/). This work was not written for any
particular instrument, Bach not having stopped at musical timbres but
having been busy exploring all the contrapuntal possibilities of a
single theme.

The "Art of the Fugue" is presented in the form of a short theme of 4
bars and shows the greatest science, the most brilliant invention and
the most total freedom, using all the procedures of fugue writing.
(According to the musicologist Jacques Chailley, it was to contain 24
fugues divided into 6 groups of 4, or rather of two pairs each, each
pair comprising a fugue beginning with the notes /re-la-fa/ and a fugue
with an opposite subject beginning with /la-re-fa/.

Since the /Art de la Fugue/ was not written for any instrument, it
remains to be seen how many instrumentalists are involved in this
score. The first recording was made by the Roth Quartet. This was
followed by the Berlin recording by Hermann Diener. As for the research
of sonorities, we find them in the versions of the organists:
historically, the first two were made by the American Power-Biggs and
the German Fritz Heitmann. These versions found their apogee in the
pure interpretation that the blind organist Helmut Walcha made in
September 1956 on the magnificent Schnitger organ in Alkmaar.

Since the score had been published without instrumentation, it was
Wolfgang Graeser who brought out a revised edition of this forgotten
work in 1924, thus marking the "return of Bach. The score was premiered
in Leipzig by Kantor Karl Straube on June 27, 1927. 178 years after its
composition, the work received its first performance!

One can assume that Scherchen, who was conducting the concerts of the
Grotrian-Steinweg Orchestra in Leipzig at the time, attended this
performance, because he played it in Winterthur on 19/2/1928.
Immediately, this work occupied an important place in his programs; he
played it again on March 25 in Zurich, twice in April in Geneva and
Lausanne with the Orchestre de la Suisse Romande, on April 24 in
Franfurt, etc.
The Swiss press reported on the Winterthur concert in the following
terms:

/The Musikkolegium Winterthur was not content to limit Bach's last and
most impressive work, the Art of Fugue, to a concert: aware of its
responsibility, it made every effort to ensure a reception worthy of
Bach's cultural greatness. Although the soloists, the city orchestra
and Kappelmeister Hermann Scherchen did their best, something would
have been missing from this celebration of Bach if the public's desire
to meet Bach's prophet, W. Graeser, had not been satisfied. Thus, this
Sunday morning was very close to a religious festival. Only the purpose
of the celebration made it otherwise [...] /Graeser introduces the
work: the composer left us his musical testament, conscious of placing
himself totally outside his time with a work which, by its secret
writing, was practically coded and it took all the effort of
musicologists to decipher it... The history of the Art of the Fugue is
important: it begins with improvisations that Bach made on the organ
during visits by his colleagues who asked to listen to him at the
Thomaskirche organ. He then elaborated these fantasies at home. There
was no end to the work that was done. What remains is a large
unfinished quadruple fugue, the fourth theme of which was to contain
the notes corresponding to its name B-A-C-H. Instead of its end, the
now blind Master dictated to his son-in-law the chorale "Vor deinem
Throntret" as the finale of the whole, which naturally had an
unsuspected influence as the performance shows. [...].

Graeser's orchestration was soon found to be pompous, too "romantic"
because of its grandiose character, and the arrangement adopted no
longer met with universal approval. The state of the question thus
required new and thorough research. The Swiss composer, organist,
choirmaster, musicologist and sound engineer Roger Vuataz wrote his own
orchestration of the Art of the Fugue, which Scherchen premiered at a
concert in the Winterthur church on August 10, 1941. The orchestra was
composed of three string orchestras consisting of 26 strings, flute,
oboe, English horn, harpsichord and two bassoons. It is this
instrumentation that Scherchen will perform and record for /Decca/ in
1949 - original 78 rpm K 28232/28242, reissued as LPs LXT 2503/2505.
Vuataz wrote on October 26, 1943, about his orchestration:

/In the version I wrote for chamber orchestra, arranged as a 4 manual
organ, I did not want to forget - from the technical point of view -
that Bach's own orchestration is directly inspired by the organ
registration and, from the spiritual point of view, that the famous
Cantor built his personal faith on the Gospels. This is not out of the
question. This fact means that his thought completely dispenses with
the decoration with which one usually surrounds the manifestations of
religious feeling, and one sees on every page of his entire work that
the truth and austerity of the Reformed discipline were the first
article of his artistic creed./ / I have therefore taken these pieces
from the collection of the composer.
/I therefore took these pieces of incomparable polyphony as stories or
gospel parables; I was content to do, so to speak, a reading aloud,
distributing the elements of the text between dialoguing voices. It was
not possible for me to produce a play in which the actors, by the mere
fact that they were in the flesh, would have allowed themselves to add
to the action the complementary gestures that their individual
psychology might justify. Everything is therefore bare, arid, austere.
But as the human being manages to release the living forces of the
spirit which is in him, the Art of the Fugue, under this form, rises to
the purest parvis of the musical Art/.

If we were to list all the concerts in which Scherchen conducted this
work, we would certainly arrive at an impressive figure, for he
performed the Art of Fugue in all the countries to which he was invited
and as far away as Palestine and South America. The /Dernières
Nouvelles d'Alsace/ reported on December 5, 1934, on a performance of
the work by Scherchen in Strasbourg:

"Scherchen has restored the true interpretation, and God knows how
often it is altered by ignorenca, nonchalance or convention. That is
why Mr. Scherchen has raised the creative force of this art, where
beauty, balance and nobility come together in an ideal conjunction.
Hermann Scherchen has not only entered the Art of Fugue with a new and
modern spirit, he has brought it to the highest regions of feeling and
thought. Under the influence of this music and with an interpretation
as fervent and certain as that of Mr. Scherchen, the Art of Fugue took
on its true meaning. That is why we are especially grateful to Mr.
Scherchen for giving us back the lively and eternally youthful Bach
that we love above all else!"

Scherchen certainly found Vuataz's instrumentation unsatisfactory and
consistent with his own vision of the work, which he orchestrated
himself. He expressed himself at length on this subject, either in
texts or in radio broadcasts. Thus, the day after the premiere of his
orchestration, on Saturday May 15, 1965, Scherchen wrote in his diary:

"The Art of the Fugue: a historic event in the history of the concert";
and following the Bonn performance, he had noted in his notebook that
"with this work begins the true existence of Music*.
(For Scherchen, Bach is, as he wrote, only "an open window on
Schoenberg"). On the other hand, his book "vom Wesen der Musik" (On the
Essence of Music) was published in Zurich in 1946. One of the three
chapters is devoted to Bach under the title: "The Secret of Artistic
Creation", and a large part of the musical analysis concerns the Art of
the Fugue. At the Paris rehearsal by French Television in March 1966,
Scherchen gave the "key" to the Art of the Fugue: "The meaning of the
fugue is like four people discussing the same thing. The first one
says: "ah, life is very difficult"; the second one says: "life is not
so difficult"; the third one adds: "it's more than difficult, it's
terrible"; and the fourth one: "so what do we do with life?". When the
counterpoint begins, one begins to think by listening to what the other
says.

Scherchen had already written a text as a preamble to the concet given
in Zürich on March 12, 1935:

"Confronted with the Art of the Fugue, one must first of all ask
oneself the following question: for the listener of a concert, how
important is a work that is considered by connoisseurs to be the
pinnacle of music and of compositional pedagogy? The listener is used
to considering the emotions aroused by a work, the aesthetic pleasure
provided by a concert, as scales of value. He is right, these are his
own reactions that show the effect of the work and it is only a
question of the degree of evolution of the listener, to what point he
remains closed in a state of pure and simple excitement or if, while
listening to a work, the beauty of its form is added to the pleasure,
enriched by the knowledge of the laws of composition and of the musical
elements which are at its source.
A music without the power of emotion, aesthetic pleasure or spiritual
clarification may interest the professional man but has no connection
with the normal listener. Let us imagine, then, that instead of his
nine symphonies, Beethoven had left us an "Art of the Symphony"
grouping together the different types of symphonic music in a new form
in which they are situated in relation to each other. Let us listen,
then, to how in his Art of the Fugue, Bach gives birth to all the
possible forms from a single original nucleus and gives them a new and
increasingly complex life by making them grow separately, contrasting
one with the other and finally uniting them in a whole of the greatest
beauty. At this point, the question of the justification of the sound
performance of this work loses its raison d'être and the listener is in
the grip of emotions never experienced before, of an unknown aesthetic
pleasure, of an unsuspected intellectual appeasement!
The more a work of art has a pure and powerful action, the more it is
founded on essential and general laws. The most beautiful classical
paintings are built according to the gilding on edge, the pyramids
express in their original structure the relationship to the number 11
and were conceived from astronomical observations. The form of the
fugue is also one of the essential creations of the human mind which
opposes theme and counterpopint, in the same way as general law and
particular individual; and in the same way that the law rises above the
individual who opposes it, submits to it, accepts it and sees it acting
on him, the counterpoints fundamentally oppose the theme, adapt to it,
follow it with enthusiasm and try to make its positive force act on
them.
The problem of the European man who strives to bring to unison and
harmonization the general law binding individuals and their personal
desires, their desire to shape, their desire for suffering and
happiness, is reflected in the structure of the fugue and finds its
ideal and spiritual transcription in Bach's Art of the Fugue.
Just as this law has the power to act in the most varied modes, while
always leaving its basic determining form recognizable, so the theme of
the fugues modifies its form of appearance, its force of expression and
its way of acting. And even if these modifications of the theme
manifest themselves as variations in tempo, new rhythmic values,
melodic transpositions and other harmonic interpretations, the thematic
core remains unchanged and maintains, as a law, its power of meaning.
Opposite this theme are the counterpoints, the opposing voices of the
theme such as personal, egocentric feelings, which go from prayer to
obstinacy, from affirmation to negation. And if one often has the
impression that an opposing voice manages to give the theme a new
meaning and to adapt the Law to its own impulses, at the end of each
fugue it is nevertheless the theme that reaffirms itself in the most
powerful and grandiose way, by raising the Law once again above the
short earthly presence of the individual, made of happiness and pain.
The perfection of the fugue, however, is only perceptible in its forms
of appearance, for the Law and the individual reach a higher unity in
which, thanks to their harmonious interaction, the strict order of the
theme as well as the passionate will of the opposing voice reappear
again, but transformed, as two new forms of existence of man, separate
and powerful.
At the basis of Bach's entire Art of Fugue lies this balance between
supra-individual and particular existence, between Law and personality.
This balance manifests itself as a determining factor of a vehemence
that shakes the heart, delights the soul and strengthens the spirit for
the actions of the future humanity.
For this reason, it is not at all the listener's problem to know by
which complicated structure the Art of Fugue touches his ear. Listening
to this work so shakes the naive man, so awakens all his capacities to
rise to a higher existence, that in this listener begins the same rich
life which, like a mirror fugue, like a fugue in opposite movement,
like a double and triple fugue, has received its artistic denomination.
Everyone can (and should) listen to the Art of the Fugue, simply to get
a sense of the forces that can be expressed, such as our character, our
spiritual life and our intellectual power - still asleep in the
enigmatic image of music not yet performed and now living in us as a
sound reality that transforms heart, soul and mind.

After the premiere of his instrumentation in Lugano, Scherchen recorded
it again on the Westminster label (XWN 2237)? In December 1965, he is
invited for a concert tour of North America, beginning in Canada, in
Toronto, where from December 8 to 11, the Canadian Television and Radio
CBC film a long rehearsal and record the radio concert.

In the /Corriere dl Ticino/ of May 17, 1965, the review of the world
premiere of Scherchen's instrumentation reads:

"The performance of the Art of the Fugue orchestrated and conducted by
Hermann Scherchen will go down in the history of the Lugano Concerts as
one of the most important musical events in this city [...] Scherchen's
courage - like that of his predecessors - is demonstrated in the fact
that he took the risk of boring the audience, the worst misfortune that
can happen to a performer. How did he overcome this obstacle?
We were talking about his temperament: that is the key to his success.
Scherchen wanted a group of winds in the orchestra, the variety of
timbres they allow doubling and even tripling the expressive
possibilities of the strings. Only the organ can compete with a full
orchestra, but the latter probably surpasses it in the intensity of the
emotional vibrations it is able to covet.
Scherchen uses the freedom that the work gives him from the point of
view of interpretation to vary his expressive means to the maximum. The
voices are always 3 or 4, but the instruments that play them alternate
suggestive effects. Thus, it is certain that the contrapuntal fabric
acquires a relief that could be defined as plastic: the themes become
more evident and marked, which becomes an important means in the
frequent case of the superposition of the marvelous triple subject
fugues. Scherchen also gives great importance to the dynamics,
especially in the string parts, and achieves very effective
effects...".

Scherchen left a very important text on his "reinterpretation" of the
work, which sheds light on his personal vision, a vision which is
itself part of his way of conceiving all music as a whole with regard
to its role (in this text, Scherchen never mentions religion and never
mentions the name of God):

"My decision to reorder and reinstrument the Art of the Fugue is based
on the indications contained in Bach's manuscript, which suggest a
general plan built in a sequence of 18 counterpoints. The four simple
fugues, built on a single form of the theme of the fugue based on the
work, are followed by four counterfugues presenting the theme in two
forms: the original form and its inversion. On the other hand, the four
following counterpoints present three thematic aspects. This means that
the first 4 simple fugues are written in meditative style (Bach means
by this a music made to praise God), the successive counterfugues being
written in concertante style (close to Bach's idea of a music made to
delight the soul). The 4 fugues presenting 3 different thematic forms
are finally written in this "espressivo" style (characterized by an
increasing presence of the chromatic motive) formed by the notes
corresponding to the name of B.A.C.H, that is to say to the German
version of the notes B flat-la-do-si, and which, by its modernity, goes
beyond Bach's usual framework.

What then remains of the 7 counterpoints of the second part? In the
canons, the two voices follow each other without transformation. This
means that, from the first note, the general structure of the piece
must be established. In the two mirror fugues, an even greater miracle
occurs: 14b is the repetition, note for note, of 14a but inverted. In
other words, what was the upper voice is found in 14b in the lower
voice and what was the lower voice in 14a becomes the upper voice in
14b. What is surprising is that, in the midst of such severity and
strict rules, Bach's strength of individualization seems to prevail in
richness of imagination over the first part, and then, the two versions
of 14a/b and 16a/b, without in any way modifying the drawing of the
notes, give a new framework, as happens with the reflection of our
image which, even if it is identical, shows us the right arm instead of
the left.

The manuscript of Bach introduces as counterpoint 9 a canon with two
voices; the same canon is repeated in our organization when it presents
as n°9 the canon with inversion and augmentation that, in a certain
sense, contains 3 different modalities of the text.

With numbers 16a and 16b, Bach goes from three to four voices, which
was already the case with the two triple fugues of numbers 10 and 12.
The rules of strict counterpoint are no longer of interest to Bach in
his ultimate work, and he constantly goes beyond them. However, what
has never happened before is accomplished here, in the heart of the
work. Bach had already opposed the first counterpoint (rectus) with its
inversion (inversus), and yet the phenomenon of the reflected image is
present from the beginning of the work. In this second counterpoint,
however, in the 5th bar, he introduces the material of his name in the
tenor: do-si-si-flat-la). In the fourth counterpoint, again in
inversion, this material is reordered in B.A.C.H. In the ninth
counterpoint (Canon with inversion and augmentation), the material of
his name, transposed to F-E-R-E-flat, penetrates the fundamental theme
itself.
In the first triple fugue, it becomes, through its distribution on the
2nd, 4th, 5th and 6th notes of the initial theme, the force that shapes
and generates the theme itself. Finally, in the second triple fugue,
the idea of B-A-C-H gives life to the second theme, if one takes the
7th, 6th and 4th notes and transposes them into B flat-la-do-si; the
BACH idea will then be revealed as the creative force of the theme.

Finally, there is counterpoint 18, the unfinished quadruple fugue "on
which the composer died", as C.P.E. Bach later wrote in the unfinished
score. In the third of the four fugues planned for this enormous
construction, Bach introduces himself by means of his name as the main
theme: B-A-C-H. Of course, he was always aware that his name could be
translated musically into the newest kind of music, the expressive
chromatic genre. We know that for the fourth part of the quadruple
fugue 18, he had thought of an inverted fugue, built on the synthesis
of the first three themes with the addition of the fundamental theme of
the whole work. Once again, the first three fugues with one, two, and
three themes, summarize in a colossal progression all the stylistic
possibilities developed in the first part. The fourth fugue should have
welcomed them in a total vision, like a mirror of the strict observance
of the rules and a projection towards the future.

Thus, just as I seemed to be able to solve the riddle of Bach's plan on
the basis of the existing manuscripts, I also found in them the
justification for my own orchestration. Bach centered the counterpoints
1 and 2 on the fundamental phenomenon of inversion. The original form
(rectus) always has an affirmative character, at least pronounced,
while its inversion (inversus) has an interrogative, rather
indeterminate character. To these two forms correspond the two families
of instruments: the winds, naturally affirmative and precise in their
formulation, opposed by the strings, more inclined to create
atmospheres and to be interrogative.

I therefore entrusted the winds with all forms of rectus and the
strings with all forms of inversus. The result is a dialectic of
exposition and expression that is specific to the work and that is
considerably closer to my ideal: to communicate to the listener, in a
direct way, the most learned and difficult message to understand and,
in the same way, that while listening to the work, he no longer has to
search for what it wants to communicate to him, because all that is
transmitted to him is immediately identifiable with the immediacy of an
awareness.

In March 1966, Scherchen was in Paris; on the 23rd, French television
filmed a rehearsal of the Art of the Fugue in the Church of Saint Roch.
This document also exists and is very moving because it shows us
Scherchen less than three months before his death. We see a man of
almost 75 years old, tired of American tours, "struggling" with a few
French musicians whose spirit was too "functionalized" for his taste,
but above all a man illuminated by Bach's music.

This will be his last performance of the work. His earthly journey
ended the following June 12 in Florence, on the occasion of the
premiere of the "Opheid" of Malipero.

Thus ended a life of more than fifty years dedicated to Music,
thirty-eight of which were devoted to the genius of Johann Sebastian
Bach.

This new long and fascinating article from MELMOTH is the transcript of
the booklet written by *René Trémine*, and translated by *Myriam
Scherchen*, accompanying the superb and indispensable double CD (Tahra
108/109), "Hermann Scherchen rehearses and conducts his instrumentation
of the Art of the Fugue"...
The rehearsal (in English, but translated into French in the booklet),
lasts 26.50 minutes, and is of course fascinating...

[Ricardo Jimenez]

On Sun, 15 May 2022 14:56:01 +0200, MELMOTH <theo...@free.fr> wrote:

>Scherchen certainly found Vuataz's instrumentation unsatisfactory and
>consistent with his own vision of the work, which he orchestrated
>himself. He expressed himself at length on this subject, either in
>texts or in radio broadcasts. Thus, the day after the premiere of his
>orchestration, on Saturday May 15, 1965, Scherchen wrote in his diary:

Spotify has a two disc set ©1998 tahra of Scherchen conducting the Art
of the Fugue with Schoenberg's Orchestral Variations Op 31 as a
filler. The orchestra for the Bach is identified as the Radio
orchester Beromünster and the orchestration is credited to Roger
Vuataz so I guess this is the 1949 performance. I can't find the 1965
performance on Spotify.

[Frank Berger]

On 5/15/2022 11:47 AM, Ricardo Jimenez wrote:
> On Sun, 15 May 2022 14:56:01 +0200, MELMOTH <theo...@free.fr> wrote:
>
>> Scherchen certainly found Vuataz's instrumentation unsatisfactory and
>> consistent with his own vision of the work, which he orchestrated
>> himself. He expressed himself at length on this subject, either in
>> texts or in radio broadcasts. Thus, the day after the premiere of his
>> orchestration, on Saturday May 15, 1965, Scherchen wrote in his diary:
>
> Spotify has a two disc set ©1998 tahra of Scherchen conducting the Art
> of the Fugue with Schoenberg's Orchestral Variations Op 31 as a
> filler. The orchestra for the Bach is identified as the Radio

> orchester Beromünster and the orchestration is c\redited to Roger

> Vuataz so I guess this is the 1949 performance.

It is.

I can't find the 1965
> performance on Spotify.

It was a Westminster recording, rleased on cd as Millennium (MCA) 80352

https://tinyurl.com/2nmxw73u

[Dan Koren]

Too long to read .....

[Dan Koren]

On Sunday, May 15, 2022 at 5:56:07 AM UTC-7, MELMOTH wrote:

> On April 28, 1965, Hermann Scherchen
> wrote to his wife Pia Andronescu:

His 4th or 5th wife, depending on
how one counts. The man made
more children than recordings!

He did say something once that
was quite insightful: "Music does
not have to be understood. It has
to be listened to "Musik muss
nicht verstanden werden. Sie
muss gehört werden" ". The
opposite of Furtwanglersky.

dk

[MELMOTH]

Dan Koren a exprimé avec précision :

> Too long to read .....

If I had replaced Scherchen by Celibidache, I doubt that you would have
answered the same thing...

[Dan Koren]

I would have replied EXACTLY
the same way. As my friend
Clara liked to say "talking
about music is like dancing
about architecture".

dk

[Dan Koren]

BTW I do like Scherchen.

dk

[Dan Koren]

On Sunday, May 15, 2022 at 2:26:58 PM UTC-7, Dan Koren wrote:

In case you didn't notice, my
reaply was about your article,
not about Scherchen.

[Frank Berger]

I'm the last one to be telling someone the post too much, but do you realize that many of your posts appear twice?

[Dan Koren]

On Sunday, May 15, 2022 at 2:59:51 PM UTC-7, Frank Berger wrote:
> On 5/15/2022 5:39 PM, Dan Koren wrote:
> > On Sunday, May 15, 2022 at 2:26:58 PM UTC-7, Dan Koren wrote:
> >> On Sunday, May 15, 2022 at 2:24:57 PM UTC-7, MELMOTH wrote:
> >>> Dan Koren a exprimé avec précision :
> >>>> Too long to read .....
> >>>
> >>> If I had replaced Scherchen by
> >>> Celibidache, I doubt that you
> >>> would have answered the
> >>> same thing...
> >>
> >> I would have replied EXACTLY
> >> the same way. As my friend
> >> Clara liked to say "talking
> >> about music is like dancing
> >> about architecture".
> >
> > BTW I do like Scherchen.
>

> I'm the last one to be telling someone
> the post too much, but do you realize
> that many of your posts appear twice?

?!? Could be a Google Groups bug.

dk

[Frank Berger]

Solved, mostly. I while back I switched from supernews.com to aoie.com because Gerard recommended it and it is free. I've been using it without incident until some posts started appearing in duplicate. I switched back to supernews and the duplicate posts are gone.

[Owen]

On 5/15/22 3:51 PM, Dan Koren wrote:
> Too long to read .....
>
> On Sunday, May 15, 2022 at 5:56:07 AM UTC-7, MELMOTH wrote:
>> On April 28, 1965, Hermann Scherchen wrote to his wife Pia Andronescu:
>> /This evening I have rehearsed MY Art of Fugue, which I have carried
>> with me for 36 years and which makes me happier every time/ (NB:
>> Scherchen is rehearsing his orchestration, which will have its world
>> premiere at the Apollo Theater in Lugano on Friday, May 14).
>>

<snip>

But you had to include it all in your repost??

-Owen

[Al Eisner]

The duplicates, from both Dan and MELMOTH, are appearing in two
diferent threads, one titled HERMANN and the other SCHERCHEN. This
is an obvious attempt by both of them to rev up their statistics
in MELMOTH's all-important monthly summaries!
--
Al Eisner

[Dan Koren]

On Monday, May 16, 2022 at 12:58:00 PM UTC-7, Al Eisner wrote:
> On Sun, 15 May 2022, Frank Berger wrote:
>
> > On 5/15/2022 6:01 PM, Dan Koren wrote:
> >> On Sunday, May 15, 2022 at 2:59:51 PM UTC-7, Frank Berger wrote:
> >>> On 5/15/2022 5:39 PM, Dan Koren wrote:
> >>>> On Sunday, May 15, 2022 at 2:26:58 PM UTC-7, Dan Koren wrote:
> >>>>> On Sunday, May 15, 2022 at 2:24:57 PM UTC-7, MELMOTH wrote:
> >>>>>> Dan Koren a exprimé avec précision :
> >>>>>>> Too long to read .....
> >>>>>>
> >>>>>> If I had replaced Scherchen by
> >>>>>> Celibidache, I doubt that you
> >>>>>> would have answered the
> >>>>>> same thing...
> >>>>>
> >>>>> I would have replied EXACTLY
> >>>>> the same way. As my friend
> >>>>> Clara liked to say "talking
> >>>>> about music is like dancing
> >>>>> about architecture".
> >>>>
> >>>> BTW I do like Scherchen.
> >>>
> >>> I'm the last one to be telling someone
> >>> the post too much, but do you realize
> >>> that many of your posts appear twice?
> >>
> >> ?!? Could be a Google Groups bug.
> >

> > Solved, mostly. I while back I switched from supernews.com to aoie.com
> > because Gerard recommended it and it is free. I've been using it without
> > incident until some posts started appearing in duplicate. I switched back to
> > supernews and the duplicate posts are gone.
>
> The duplicates, from both Dan and MELMOTH, are appearing in two
> diferent threads, one titled HERMANN and the other SCHERCHEN. This
> is an obvious attempt by both of them to rev up their statistics
> in MELMOTH's all-important monthly summaries!
>

Non-sense. I couldn't care less.

Maybe Melmoth worries about
such trivia.

dk