Steve Schwartz questions my exclusion of Aus Italien.  I was going to
include it, but then deferred to Del Mar's classification.  I haven't heard
the piece in years, not much caring for it then.  I don't know how I'd rank
it now, but for now I USED to care for the piece, I'd would rank it below
Heldenleben.

But the Burleske is another matter.  It's kind of ungainly, but full of
good stuff.  It actually has a good classical development section, and a
great tune that Bernstein stole for "There's a place for us."  Thanks to Ed
Zubrow for reminding me of this number.  I have the Algerich recording as a
favorite.

I'm not sure why David Harbin thought I didn't like the Domestic; perhaps
I was being a bit non-committal by referring to others' rankings.  It's my
favorite.

But then, as Steve Schwartz noted, melody is the most important musical
element for me.  Others might have higher preferences for other elements
such as orchestration, form, harmony, degree of dissonance, tonality,
repetition, etc.  Melody-wise, in my opinion, Heldenleben is weak,
especially in contrast with so many other Strauss works.  It is the
melodies that for me make Salome a greater work than Elektra, an otherwise
quite similar work.

Jeff Dunn
Alameda, CA
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