Tony Duggan <[log in to unmask]> writes: >You want to own a recording of a particular piece of music. _All_ the >recordings available of that work delete _all_ the repeats. Do you go >ahead and buy one of them, or do you do without? This is like asking me to choose between a broken arm and a broken leg. You present a dilemma in which no choice will yield satisfactory results. >You want to own a recording of a particular piece of music. All the >recordings _except one_ delete all the repeats, but the entire range >of critical opinion is agreed that the one recording that includes the >repeat is a travesty of the work in every other instance - sound, playing, >interpretation, recording. Do you go ahead and buy the turkey? Do you buy >one of the others without the repeats? Or do you do without? Since I do not let critics make decisions for me, I would by the recording that they condemned and decide for myself. I seem to recall some discussion of critical listening on this thread, and critics do have a way of being wrong, especially when they go around acclaiming recordings of works that disregard a composer's intent. I also seem to recall reading an apt analogy between critics and eunuchs. -Jocelyn Wang Culver Chamber Music Series Come see our web page: www.bigfoot.com/~CulverMusic