Michael Cooper discovers a...

>real gem ...a piece called "Two Pianos" ...  I'm absolutely enthralled
>with this piece and have listened to it dozens of times this week.
>[It's also] ...opened up a source of frustration for me: How do I sort
>through modern music and find these gems, which are every bit as worthy
>of public attention as Bach, Beethoven, and Tchaikovsky?  The radio
>helps, occasionally I hear something extraordinary that is entirely new
>to me.  Perhaps other listers who have similar tastes can help guide me.

I don't know this work by Gould, 'though I rather impatiently await an
eBay item that includes Diamond's Concerto for 2 Solo Pianos and other
2-piano works by Barber, Persichetti and Fennimore.  The Diamond, I
gather, is the only concerto proper following upon Stravinsky's great
work of that name.  The Stravinsky Sonata is another extremely worthy
piece in this 2-piano family, and I'd call the Hindemith (for 4-hands?)
one of his loveliest pieces.

Something that's likelier to be newsy for Michael, is Milko Kelemen's
Compose, for 2 pianos and three orchestral groups.  Strongly recommended:
21st century, very dissonant, wild and rehearable, and a many-layered
work to really penetrate.  A fascinating composer who seldom gets
mentioned.

But all told, this mcmLister's 'guide' comes down to two bits of advice,
neither apparently very helpful.  One, the radio, which you'd mentioned.
Two, join MCML, which you've obviously already done.

This raises a pretext for me to mention something I've been wanting to,
no matter how difficult it is to pitch it properly.  I'll just lunge
straight into it.

I've recently found myself overbusy with good work after a longish
drought.  It's put a serious crimp on my music listening and hefty
correspondence, which I do regret, yet it's let me rectify my unpaid
use of this wonderful list.

I seldom utter that overworn 'w' word, but it sure applies here.  I've
learned much at MCML over about 8 years now.  I'm talking about ongoing
dialogues, as quiet witness and otherwise, with dozens of enriching
musical acquaintances -- to say nothing of the two who've long been among
my invaluable handful of very good friends in France and Australia.

As you no doubt know, this List has some very strong talent in the
reviews department -- to pick just one of its several areas worth mining.
I've got my favourites and so do you.  That said, I'd venture that even
the most talented among them gathers a thing or two here, picking up a
corrective or insight or tip that's fresh, or articulating things in a
way that illuminates some thought anew, making their participation worth
their while.  Why else remain on MCML?

If you know of a CM list that's half as good, please: I want to know.
(Well, not just yet, given my 60-hr work-week!) Either way, do consider
contributing your bit to ensure that this list keeps running as superbly
as David L, your virtual pal and mine, runs this one.

I vaguely recall the cost of a full-priced CD suggested as a fair,
once-a-year contribution.  How about it?

It's worth it, isn't it?

Bert Bailey