In answer to Jeff Dunn's questions: >1. Who wrote it, when? I have no idea. >2. Which interpretation do you like the best? The second one, largely because the melody is shaped better and the accompaniment is given greater prominence. >3. Why or why not does the melody speak to you? It seems awfully square, awfully predictable. For me it was only moderately interesting. >4. Is melody even that important or necessary nowadays? Absolutely it is. But the definition of what constitutes a melody has perhaps undergone changes that some of the great melodists of the past would not recognize as 'melodic.' >5. What are your all time favorite melodies? Impossible to answer. Too many to enumerate. Having listened this afternoon to Don Giovanni I could list five or six from that opera alone. Scott Morrison