Bob Draper replies to me:

>But, what I am doing here is challenging people to be more liberal in
>their approach to music and think for themselves more.  I am not attacking
>Karajan as such.

I didn't think you were.  I'm merely wondering who "people" are.

>I have heard pianists playing for nothing who would blow your mind.  I
>want to challange the perception that big names whoever they are are
>necessarily best.

But how many people on this list actually believe that? I've heard great
no-name performers myself (some of my best friends).  I grant you there are
some people - mostly newcomers to classical music - who do believe it, but
I've always found their numbers rather small.  In fact, I've found it more
the rule among the people I've met that one tends to have his own "personal
treasure."

>In HIFI circles the question of subjectivity in evaluating equipment has
>been a big issue for decades.  Some audiophiles will not accept that there
>is a difference between two pieces of equipment unless they have been
>doubleblind tested.

No question about it.  I also admit to having falling into the trap
regarding performances through loving the first account of a piece I heard.
However, a really great performance (or a really, really bad one) - not
just fine, good, or capable - does stand out and is readily identifiable.
I know, how many of those are out there?

>I see no reason why such principles should not apply to composers
>conductors etc,.dispite attempts by some posters to convince us that there
>is some arcane art to appreciating music and performers.

Some people listen more closely than others.  Some people have a good idea
of what they themselves listen for.  Not surprisingly, instrumentalists
tend to listen for details of their own or related instruments that would
fly right by me, for example.  I have no idea what - beyond intonation and
line - makes one concert-calibre violinist better than another.  I can tell
only two violinists - Heifetz and Perlman - in a blind hearing.  I'm sure
string players can do a lot better than me.  On the other hand, as a
long-time choral and ensemble singer, I can distinguish a lot of different
choirs.  I'm also more alert to technical things, not least because I know
so much of the repertoire in rehearsal detail (what the hurdles are, and
so on).  So I wouldn't pooh-pooh the "golden ears" theory quite yet.

Steve Schwartz