Christopher Webber echoes the sentiments of some on this list when he notes,

>Give them 'difficult' modern stuff; they take to it like so many ducklings
>to water, and love it.  Something like "The Magic Flute" tends to leave
>them baffled, undermined and resentful.

Well I had hoped to stay out of this, and it's hard to argue with someone
else's experience, but I confess I'm suspicious of this argument (I was
one who counseled Peggy to start with some of the more "acccessible" from
the standard repetoire).  And here is part of why I'm suspicious that 20th
century music can provide as good a beginning to "classical" music as can
music from the Classical or Romantic eras.  At least non-sacred music from
before the 20th century had origins in dance.  Therefore, it had to be
accessible in a way that the more absract, cerebral music of the 20th
century did not.  Heck, Schoenberg might as well have been writing for
disembodied Platonic forms as far as I can tell.  Therefore, it only
"stands to reason" that 18th and 19th century music would be more
accessible.  Moreover, does anyone doubt that Mozart is simpler than, say,
Charles Wuorinen? OK, maybe I stacked the deck on that one, but, Milton
Babbitt, Mozart actually did care if anyone was listening, as that's how he
made his living.  But I submit that Mozart offers sufficient complexity to
engage most mortal minds.  Much of 20th century music- particularly that
written by academics- avowedly appeals to the intellect, and most certainly
does not attempt to appeal- in fact frankly disdains- any urge to get up
and dance.

Moreover, I also wonder about what musically unsophisticated people are
embracing when they say they "like" much of 20th century music.  And that's
not to say I look down on any form of appreciation: I'm working with some
pretty unsophisticated, but increasing appreciative, reactions to the
string quartets of Robert Simpson (about which this list shall hear more!).
Are they responding to novelty (of course that would not explain why the
novelty of The Magic Flute would leave them cold)? Do they distinguish
between the music of Alban Berg and the Spice Girls? Would they distinguish
between an inspired and a merely competent performance? Do people whose
first experience with "classical" music cultivate an interest in the genre,
or does it tend to be a passing fancy to be tossed aside like yesterday's
rock idols? Until I see evidence that such questions are answered "the
right way", I'm going to remain suspicious of the notion that complex 20th
century music is as good a gateway to classical music as is Beethoven and
Tchaikovsky.

Larry