Gereben Janos writes with deliberation:

>Far be it from me to be at variance with D. Fodor himself, but I do, I do.

This D.Fodor understands as a reproof which, considering its source, he
naturally treasures no less than the Crown of St. Stephen.  But does not
there lie, within the syntax of Janos's cryptic wording, another, deeper
message? Surely there does--it says here.  And that message is, Kalifornien
ist anders (excepting, of course, Windsor CA 90027).  Why? Well, let's hear
it once more from the Reprover:

>And my point is that ... MTT's and Nagano's programming...  provides -- or
>imposes -- variety and exposes one camp to the repertory of the other. ...

Ja, ja, Kalifornien!  I have experienced with my own eyes and ears how
one of its exports, Salonen, with only the use of his spindly baton beat
the entire Wiener Opernorchester into grumpy submission, thereby making
at least some sense of Ligeti's Danse Macabre.  Not even the Teatro Colon
can offer an achievement of such sweep, I daresay.  For, as Pablo Massa
has no doubt reliably reported, it never ventured a real pousse cafe of
a program.  It conceded, even if only tacitly, that some recognizable
pattern was needed to what it presented.  Subscribers clearly had to be
conciliated, and so the Teatro ended up by only going only so far as to
mix Schoenberg with Gruenberg.

The city from which our departed Paul Moor fled, like Lot fled from Sodom
(if perhaps for contrary reasons), may yet lead us to new patterns of
mixing.  I pray that this may be so, if only to spare Steve Schwartz the
need of moving to Kalifornien, or the predictably strenuous alternative of
laboring to create Adorno Man.

Denis Fodor