Margaret Mikulska wrote:

>>I haven't heard Gubaidulina's Passion yet, but in the "department" of
>>oratorio repertory, I prefer Penderecki's St. Luke Passion and Messiaen's
>>Transfiguration over Britten's War Requiem.

Kevin Sutton replied:

>Because? It's not really enough to say that you just prefer something
>over something else.

I must jump in here.  I STRONGLY disagree with you, Kevin, in spite of the
fact that what you request here and elsewhere would probably be interesting
and desirable.

It is not always possible to say WHY one piece is "preferable" to another.
There are many works that I am absolutely unable to reason why I prefer
one over another.  Sometimes that preference has to do with my state
of mind, my level of concentration, a simple attraction that may be a
momentary or a lifelong state, or perhaps a small fragment of an entire
work has caught my attention and commands me to revisit it.  It could
even be that something reminds me of something else.  So much of personal
preference is unknowable.

Furthermore, I think it only inhibits people who are not used to
describing music in technical terms if you demand that they must state
"why" they like something more than something else.  (Margaret certainly
would have no problem here, but many others would, and I would not like
to see them discouraged from joining in a discussion that reminds us about
other great modern works.)

Also, technical terms are certainly not enough to describe the effect
different music has on different people.

Oh, I'm usually able to rattle off something technical that may sound like
I know what I'm talking about if you backed me into a corner and forced me
to say which I thought was a better musical composition, but believe me, it
would still leave you in the dark if you were unfamiliar with both pieces.

I can't even tell you why I like my kids.  I could list certain of
their traits and certain hobbies and also tell you about their childhood
appearance, their school performance, their dimples, and their (former)
pimples, but you'd still have no clear understanding about the emotional
and intellectual characteristics that tie me to them.  And if YOU knew
them, your point of view would be different from mine because you wouldn't
be their mom.

>What is special about the Gubiadulina? I know the Penderecki, but I put it
>in a very different category from the War Requiem.  The WR is special as it
>sets out to make a very specific statement (A commentary on the futility of
>war.)

There are many ways to comment on the futility of war, and your statement
about "special" means nothing to a person who has not heard the synthesis
of words and music that Britten has created.  It might make them run out
and listen if only for them to be able to say to you, "Oh yeah?, well,
so-and-so has MUCH better synthesis and so he is much more special" but
that is hardly educational and it still tells me nothing about what to
expect in the music itself.

>The literary and musical devices are infinite in this work and the way in
>which Britten chose and set texts is one of the great triumphs in music.
>What do the other works mention above set out to do? Do they achieve their
>end?

This can only be in the ear of the beholder.

>Through what devices?

Do "devices" make a piece great? Do we even need to know about devices if
we are transported by the beauty of a piece? Or is that the domain of the
critic and the composer/student? Does it enhance one's enjoyment to be able
to identify "devices?" OR does it enhance only the feeling of being one of
the elite, "in the know" listeners?

>What is it about these pieces, other than your respected opinion, that
>would make me rush out and buy a recording (or better yet, a SCORE!)
>and learn the piece? Enquiring minds want to know.

What else BUT opinion could inform? And if you rush out and buy something,
it is because you are curious.  Right?

Preference is Just Taste.  (Steve Schwartz is on vacation, so I have to say
it for him.) JUST TASTE.  It can be informed, it can be educated, it can be
many things, but it still boils down to TASTE.

As much as I'd like to think of myself as being able to chose the very best
in music because I have a sensitive ear and superb taste, it's still JUST
TASTE.

(Yeah, sure, some people have better taste if they agree with me, but I'm
far too polite to say that aloud.)

Mimi Ezust, the final word on what is tasteful