Christopher Webber echoes the sentiments of some on this list when he notes, >Give them 'difficult' modern stuff; they take to it like so many ducklings >to water, and love it. Something like "The Magic Flute" tends to leave >them baffled, undermined and resentful. Well I had hoped to stay out of this, and it's hard to argue with someone else's experience, but I confess I'm suspicious of this argument (I was one who counseled Peggy to start with some of the more "acccessible" from the standard repetoire). And here is part of why I'm suspicious that 20th century music can provide as good a beginning to "classical" music as can music from the Classical or Romantic eras. At least non-sacred music from before the 20th century had origins in dance. Therefore, it had to be accessible in a way that the more absract, cerebral music of the 20th century did not. Heck, Schoenberg might as well have been writing for disembodied Platonic forms as far as I can tell. Therefore, it only "stands to reason" that 18th and 19th century music would be more accessible. Moreover, does anyone doubt that Mozart is simpler than, say, Charles Wuorinen? OK, maybe I stacked the deck on that one, but, Milton Babbitt, Mozart actually did care if anyone was listening, as that's how he made his living. But I submit that Mozart offers sufficient complexity to engage most mortal minds. Much of 20th century music- particularly that written by academics- avowedly appeals to the intellect, and most certainly does not attempt to appeal- in fact frankly disdains- any urge to get up and dance. Moreover, I also wonder about what musically unsophisticated people are embracing when they say they "like" much of 20th century music. And that's not to say I look down on any form of appreciation: I'm working with some pretty unsophisticated, but increasing appreciative, reactions to the string quartets of Robert Simpson (about which this list shall hear more!). Are they responding to novelty (of course that would not explain why the novelty of The Magic Flute would leave them cold)? Do they distinguish between the music of Alban Berg and the Spice Girls? Would they distinguish between an inspired and a merely competent performance? Do people whose first experience with "classical" music cultivate an interest in the genre, or does it tend to be a passing fancy to be tossed aside like yesterday's rock idols? Until I see evidence that such questions are answered "the right way", I'm going to remain suspicious of the notion that complex 20th century music is as good a gateway to classical music as is Beethoven and Tchaikovsky. Larry