The opening and ending are the crutial parts in a piece.  In fact I've
often found myself drifting whilst listening to something only to
re-evaluate it after an effective ending.

It became more and more difficult as the 19c went on to find orignal
introductions for pieces.  In the end some works started to become
outragous for the sake of it.  That's why all the irritating openings
I know of occur in works written in the late romantic idiom.  That
expression is carefully chosen because many such works are fairly recent.

Of course the master of the opening was Haydn (I would say that wouldn't I)
especially in the Paris/London symphonies.  I love the fairly long opening
to the second cello concerto.  Symphony 100 and 103 have especially
marvellous openings.

True masters always manage to come up with special and original for all
their works.  Like for instance all the Beethoven symphonies.  Every Brahms
symphony also opens and closes in a unique way.

Bob Draper
[log in to unmask]