Jon Johanning writes:

>Or does anyone have any evidence that "Amadeus" and "Immortal Beloved"
>actually created any new CM devotees?

I don't know about the statistics, or evidence.  But who needs hard data
when you can settle for shaky anecdotal evidence?

Count me as one late convert who came to the music through the movies.

My story, in brief:  I saw "Apocalypse Now" when I was 14 years old and
fell in love with "Ride of the Valkyries." The first classical recording I
ever bought with my own money was Solti's "Die Walkure." I had no idea what
the opera was about when I bought it, I only knew it was that cool music
from the helicopter attack scene.

As a callow youth, I was mostly interested in "devil's music," i.e.  heavy
metal -- hence my attraction to what some on this list have called the
Solti CSO's "unforgiving brass." But my interest in classical music
simmered for awhile, and I picked up 40 or 50 classical CDs over the
next decade, going for familiar names (Bach, Beethoven, Brahms, Chopin,
Tchiakovsky, Wagner) and familiar works (symphonies, mostly) by mostly
familiar conductors (Solti again, and Klemperer).

Then, in 1996, Shine came out.  For all that's been said and written
about that film and about David Helfgott's merits as a performer, I give
it credit for reigniting my interest in classical music.  The film was my
first exposure to Rachmaninov's 3rd Piano concerto and I was spellbound.
(An aside:  I have Helfgott's recording.  Yeah, it's terrible.  My
favorites are Horowitz and Argerich, but I've been on the lookout for
some of the other performances mentioned recently on this list.)

Since I was making a couple of bucks, I paid a visit to a nearby Virgin
Megastore a few weeks after I saw the film and bought $200 worth of Sony
Essential Classics CDs.  I started with "A" and worked through the
alphabet.

Since then, I've spent most of my scant disposable income on CDs, read like
a demon, attended a number of performances in L.A.  and a couple in San
Francisco, interrogated my more musically-literate pals and generally
immersed myself in the music in a frantic effort to make up for lost time.
Today, I'd say my collection substantial, but not as substantial as some
(only 4 Eroicas).  This list been invaluable in fueling my interest and
helping to expand my repertoire.

I saw "Hilary & Jackie" in December.  I didn't care for it, though my
general distaste had very little to do with the current controversy.  I
knew nothing of Jacqueline Du Pre going in, other than what I'd read here
and elsewhere.  But, as with "Shine" and the Rach 3, "Hilary & Jackie"
provided my with my first real exposure to Elgar's Cello Concerto.  I've
since acquired two recordings of it with Du Pre--one on Sony with
Barenboim/Philadelphia and one on EMI with Barbirolli.

What does my story prove? Nothing, of course.  Indeed, I'd wager that I'm
an exception to the rule.  But I'd be interested to know if anyone else has
a similar tale to tell.

Thanks and regards,

Bob Chen
Los Angeles, CA