David Stewart wrote:

>...the art of composition needed to create that thing [the 1812 Overture]
>is minimal.  It is built out of god-awful tunes (subjective I know), worn
>to the bone orchestral effects and cymbal clashes.

Oh, well, you could continue this thing into a sort of infinite-regress.
Which effects? What's wrong with cymbals? Did T. use poor taste? Too many?
Wrong place? What makes a tune god-awful? How are the themes any worse
than in other works, e.g., Marche Slav? Extraordinary criticisms demand
extraordinary evidence! As an alternative, you could just say you hate the
darn thing!

Chris Bonds