Donald Satz <[log in to unmask]> wrote:

>Tony's statement above is in respose to a list member who holds the
>premise that British music review periodicals and the Penguin Guide
>possess a little favoritism toward British composers, orcestras, and
>performers.  I don't doubt the favoritism at all and would just like to
>point out that U.S.  sources show some favoritism for U.S. composers and
>performers, the French for French composers, etc.  It's only natural and
>expected, certainly nothing to complain about.  Nationalistic pride is a
>good thing.

I mentioned my views on Penguin and Gramophone with regard to Barbirolli
et al mainly because I simply don't hear the qualities that, according to
Penguin and Gramophone, make his (and other certain music and recordings)
so "legendary"... In particular, at the present, Barbirolli's Mahler 5.
Where they refer to it as "warm" and "humane," I just found it slow and
plodding.  Still, on the whole, I've found P&G's tastes and recommendations
consistently very much in accord with mine.

(Another "legendary" recording... Beecham's La Boheme... I just don't
*hear* it... P&G just seem to me to be making too many allowances.)

Aaaaaanyway... I don't suppose we could get back to talking more Mahler
again, could we?  (And, if necessary, just start a separate thread for
"Nationalism among critics and national-international musical historical
significance."  Pretty please?:-) I'm about to pick up a copy of
Barbirolli's M6 on hold at my library quite soon.  We'll see if he can
really make an "about-face" on this one for me...

Albie