How do you convert a Mozart sceptic?

[Sir Velo]

How do you convert a Mozart sceptic?

Heel a depression on the ground, place one of the the sceptic's pointy ends in it and kick said sceptic over the cross bar.

All getting a bit serious here. Calm down dears!

[french frank]

Why are you deleting my posts ? This strikes me as no more than censorship to mollify old pals from the Radio 3 forum .

Arcades Projects are far more offensive than anything I have posted .

They weren't deleted, they were moved to Platform 3 to be discussed there but as people are determined to continue the battles, that thread is now in the Diversions forum

http://www.for3.org/forums/showthread.php?8965-Temporary-title

Only one post was deleted - and it wasn't yours.

[Barbirollians]

OK - it would have been helpful to have been told though .

I do worry about a sense of humour failure on here sometimes though that is not directed at you FF

[Arcades Project]

/

[Beef Oven]

Why don't you mind your own business?

That's about as "offensive" as I've got. I find Barbirollians' continued claim that I've been personally offensive to him, while he throws around all sorts of insulting claims about pretense & fraud, offensive. As it happens. Deeply offensive. I'm leaving this forum for good (cue witticisms from yourself / & Barbirollians) & more seriously I'm quitting FOR3. I've belonged to the organisation from the start, but whatever its stated aims I no longer feel welcome as a supporter.

Your reaction is a bit over-the-top.

[amateur51]

How do you convert a Mozart sceptic?

Heel a depression on the ground, place one of the the sceptic's pointy ends in it and kick said sceptic over the cross bar.

I enjoyed that

[cloughie]

How do you convert a Mozart sceptic?

Heel a depression on the ground, place one of the the sceptic's pointy ends in it and kick said sceptic over the cross bar.

K522 Mozart (arr J Wilkinson)

[Tapiola]

How do you convert a Mozart sceptic?

Heel a depression on the ground, place one of the the sceptic's pointy ends in it and kick said sceptic over the cross bar.

Ah yes. one must admire the sceptic who tries...

[jean]

OK - but you have to read the words in context.

I did!

This was the context:

Some early music is really quite monotonous - with music presumably intended to accompany words - which themselves tell a story.

It was the practice of 'early' composers - before the Reformation/Council of Trent, anyway - to do their very best to pretend they were not setting words at all, by diint of melismata going on for pages at a time and further attempts to mislead the listener by stopping in the middle of a word and resuming on the same vowel after a break of several minutes.

[Simon]

Oh hello Jean.

Whilst you're here, I wonder if it would be too much trouble to ask you to reply to my post, which I think is now part of the section that ff has seen fit to move, along with some other, more argumentative posts from other members.

If you remember, you said that my earlier post - all of it, no less - which was in fact well-intended, pleasant and reasonable and which drew similarly contrsuctive and friendly responses from some other members, was "stirring". I found that rather discourteous and unfair, and so I asked you to explain how. I'm still waiting. A logical explanation, or an acceptance that you misconstrued it, will suffice. Thank you.

Best wishes,

Simon

[jean]

Hello Simon.

It should have been clear from my post #14 here that the earlier post of yours I considered to have a stirring quality was, in fact, this one:

How sad, on returning after some time, to note that the unpleasantness is still going strong. From the same people, of course supported later by the same members of the clique.

I recommend that to all readers as an excellent example of the light-the-touch-paper-and-stand-back technique.

[Dave2002]

I did!

This was the context:


It was the practice of 'early' composers - before the Reformation/Council of Trent, anyway - to do their very best to pretend they were not setting words at all, by diint of melismata going on for pages at a time and further attempts to mislead the listener by stopping in the middle of a word and resuming on the same vowel after a break of several minutes.

OK - I didn't know that. However I don't think ALL composers did that, so I stick with my original statement, but you can filter out the composers who employed the techniques you mention. Also there would have been a difference between church music and secular songs, such as composed by troubadours etc. It's unlikely that much church music would have had the "shaggy dog story" pattern that I was referring to.

[EdgeleyRob]

Who'da thought that a discussion about the composer of the likes of....

could lead to so much confrontation and nastiness!

[teamsaint]

sadly predictable, ER, I am afraid.

Back home, need to get stuck into some new music.......

[David-G]

Hello Simon.

It should have been clear from my post #14 here that the earlier post of yours I considered to have a stirring quality was, in fact, this one:

Thank you for clarifying that, Jean. That had not been clear to me, and I was very puzzled.