I have always been amazed that different criteria are used to assess the
works of different composers.  So I am pleased that someone is trying to
be a bit more logical about it.  Here are my comments on Chris Bonds'
suggestions:

>1. Does it avoid the obvious?

Agreed

>2. Do surprises or unexpected events not only make sense in retrospect but
>give a feeling of revelation or "aha"?

Very much agreed

>3. Is the complexity level high compared to pieces in a similar style, yet
>it is easy to hear how each event fits into the overall plan?

Agree slightly.  This factor is very overrated and has led to anomalous
overrating of certain composers (more later).

>4. Is the level of psychological or emotional intensity high, does the
>piece come out and "grab" you?

Agree very much.  Certain highly rated composers lack this.  (Names later)

>5. Is every note necessary and sufficient?

Agree very much again.  Take Bach or Brahms every bit is an essential part
of the whole.  But take certain other composers and we find their works
awash with superfluous elements.

>6. Is one left with the impression of superior craftsmanship?

Dubious. Music is to enjoyed (In my view) more on an emotional level
than in terms of analysis.

>I would suggest that 4 of the 6 are necessary to call it a good piece.
>The discussion of Vivaldi concerti probably caused me to think about this.

I've just joined this list so I missed the Vivaldi discussion.  But
recently I've had a revelatory experience regarding Vivaldi.  This much
maligned composer is much greater that most people think.

It was his works for solemn occasions that I heard recently that took him
to a new dimension as far as I am concerned.  Remember too that he was
Bach's favourite composer.

>Let me know if you think I left something out.

I don't think you've omitted anything regarding judging a piece.  However
if we are looking at Judging a composer I would add the following.

The ability to modify existing musical forms and create new ones in a
meaningful way.  (I guess most people would cite Beethoven 5 here.)

Bob Draper
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