Denis Fodor ([log in to unmask]) wrote:
>... I know when I listen closely to a piece in order to analyze what I
>like/dislike about it, my mental set shifts from the aesthetical to the
>mechanical. I exit the domain of the muse and enter that of the engineer.
I find that overexposure to a work can manisfest itself in two ways:
ennui, as you both suggest, but also being overimpressed. Having
heard great insights from some musicians it is easy to start mentally
transferthem to other recordins\gs and hearing something good in all
of them.
When either of these happens it's time to call it quits. (This, BTW, is
one reason revisions of my Mahler and Beethoven surveys are overdue: I am
for inclusivity - but do you have any idea what is invovled in listening to
around 140-50 Eroicas?)
Deryk Barker
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