# Famous composers & musicians you like to ignore...



## Kjetil Heggelund (Jan 4, 2016)

Maybe this will be a fun topic  Here are mine...Richard Wagner-have tried to completely ignore his music but it's impossible, but the sheer length of it makes me steer away...& Andrés Segovia-also impossible to ignore, since I'm a guitarplayer, but he is worshipped like a god by others and I think his interpretations are weird...& I also steer away from Karajan :devil: just because! HAHA
So do you have any?


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## Sloe (May 9, 2014)

Steve Reich and Philip Glass I find their music extremely boring and for some reason they are popular.
George Gershwin I don´t get his appeal.


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## Headphone Hermit (Jan 8, 2014)

There are a number of composers and a number of musicians that I tend to overlook in favour of others, but 'like to ignore' isn't how I'd term it - it sounds a bit like a petulant teenager in a sulk


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## Blancrocher (Jul 6, 2013)

I take exquisite pleasure in ignoring Bach, Mozart, and Beethoven, in part because to do so I have to avoid a sizable percentage of my music collection.


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## Dim7 (Apr 24, 2009)

I'm a big fan of Mozart but I do have him on ignore because of all the gross and unfunny scatological jokes he keeps spamming on the forums....


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## clavichorder (May 2, 2011)

Might annoy some respectable folks of the forum here, but I don't like to pay as much attention to Mahler(and this is far from saying I don't like his music or respect him) Would rather give my time to Bruckner, Sibelius(who I in turn generally pick Nielsen over), or Richard Strauss.


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## ArtMusic (Jan 5, 2013)

I would like to "ignore" many of the 50's and 60's experimentalism composers like Xenakis, Stockhausen.


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## Sloe (May 9, 2014)

ArtMusic said:


> I would like to "ignore" many of the 50's and 60's experimentalism composers like Xenakis, Stockhausen.


It is not music we are overwhelmed by so by just not actively looking for their music we ignore it anyway.


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## Guest (Feb 2, 2016)

Blancrocher said:


> I take exquisite pleasure in ignoring Bach, Mozart, and Beethoven, in part because to do so I have to avoid a sizable percentage of my music collection.


You mean you do this in order to circumnavigate your way around *"your massive collection"* to the thunder-box?


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## Guest (Feb 2, 2016)

Sloe said:


> It is not music we are overwhelmed by so by just not actively looking for their music we ignore it anyway.


Yeah, it's like saying "I'm going to ignore Ralph Nader later this year."


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## Ingélou (Feb 10, 2013)

I don't exactly *ignore* any of the well-regarded composers - I either wasn't aware of their existence, forgot to listen, or got distracted by a Really Good piece of Baroque.

I fear that I may have become the Private Godfrey of the Classical Music World.


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## Autocrat (Nov 14, 2014)

Brahms. Just not interested for some reason. 

Any J. Strauss. Just hate it.


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## Guest (Feb 2, 2016)

Wagner. I just like to ignore any card-carrying member of the National Socialist German Workers' Party.


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## Dim7 (Apr 24, 2009)

dogen said:


> Wagner. I just like to ignore any card-carrying member of the National Socialist German Workers' Party.


Tomorrow you will find a thread named "Wagner's NSDAP membership" created by yourself....


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## Guest (Feb 2, 2016)

Dim7 said:


> Tomorrow you will find a thread named "Wagner's NSDAP membership" created by yourself....


I can only tread respectfully in your footprints.


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## violadude (May 2, 2011)

I tend to ignore Early-mid Romantic Opera composers (Bel Canto...Meyerbeer...stuff like that).

Les Troyans on the other hand, I've been meaning to listen to that ever since I was completely mesmerized by Damnation of Faust.


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## Weston (Jul 11, 2008)

I tend to ignore most of the so called minimalists.

(But evidently I don't ignore violadude's sentence structures.)


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## hpowders (Dec 23, 2013)

I have Liszt, Bruckner and Schubert on my TC "Ignore" list.

As far as active musicians are concerned, Daniel Barenboim as pianist and/or conductor is someone I have no idea how he got so far on so little talent. Perhaps he slept his way to the top.


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## Eva Yojimbo (Jan 30, 2016)

I guess avante-garde music post-1950. I'll probably check it out in-depth eventually, but nothing I've heard has really provoked me to make an effort.



hpowders said:


> As far as active musicians are concerned, Daniel Barenboim as pianist and/or conductor is someone I have no idea how he got so far on so little talent.


Indeed, though I do think he's a decent Wagner conductor, but he mostly just succeeds in making me miss Furtwangler.



violadude said:


> Les Troyans on the other hand, I've been meaning to listen to that ever since I was completely mesmerized by Damnation of Faust.


It's a masterpiece, but a demanding one that's yet to have a definitive recording. I probably like the Levine DVD with Domingo, Troyanos, and Norman best.


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## Morimur (Jan 23, 2014)

The Minimalists, Bruckner, Copeland, Haydn, Telemann, Bernstein, Shostakovich, Sibelius, Prokofiev, Dvořák...I am sure there are others.


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## Pugg (Aug 8, 2014)

Weston said:


> I tend to ignore most of the so called minimalists.
> 
> )


This and some singers which names I will not speak, without opening a can of worms


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## Headphone Hermit (Jan 8, 2014)

Regarding _Les Troyens_ ...


Eva Yojimbo said:


> It's a masterpiece, but a demanding *one that's yet to have a definitive recording*. I probably like the Levine DVD with Domingo, Troyanos, and Norman best.


Well, that is perhaps the most astonishing thing I've come across for years . A commonly held view is that either of the Davis sets can stand as exemplary recordings


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## kartikeys (Mar 16, 2013)

Yet to discover Mr. Wagner. It's on my mind.


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## Fugue Meister (Jul 5, 2014)

Here are mine several of which have already been listed by others:

Bruckner, Schumann (can't abide it at all), Liszt, Sibelius, & Stockhausen (I really don't know how or why people listen to this guy?, and I've given his stuff a more than fair shot).

To be fair I listed them merely because I haven't gotten round to them yet (Bruckner & Sibelius) but I've listed to absolute music for some 25 years and I've never felt the urge... Also I have a tendency to not really care at all for the Romantic era with the exception of Russian composers, Mahler & Wagner.


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## Eva Yojimbo (Jan 30, 2016)

Headphone Hermit said:


> Well, that is perhaps the most astonishing thing I've come across for years . A commonly held view is that either of the Davis sets can stand as exemplary recordings


I think for anyone that loves and is quite familiar with that opera it's easy to find flaws in every recording. The first Davis is too slow and sludgy. Les Troyens is grand on its own without being dragged out and obfuscated. Vickers is one of the all-time greats, but I don't think he was in his best voice on that recording. Lindholm is not an outstanding Cassandra, and when you combine that with Davis's tempo I think you get off to a bad start and it never fully recovers. The latter set's temp is better, the orchestra and sound better, securer, but the cast is also problematic. Heppner is one of the better modern "heldentenors," but I think he struggles as much as Vickers, though in different ways. Lang is a better Cassandra than Lindholm, but DeYoung is a worse Dido than Veasey. Dutoit's is the only recording that has idiomatic French, but I think the work is just a little too big for everyone involved. On balance, it might better than the Davis recordings, but it's close. Levine is blessed with the most talented trio, even though Domingo is a bit too lyrical and weak for Aeneas, his superior characterization makes up for it. Levine himself is a bit on the slow side too, but I think he doesn't lose as much clarity as Davis. I also don't think he caught Norman at her best either. Overall it's quite good with the least nits for me to pick.

Les Troyens is just a _very_ difficult work to perform. Like Wagner it requires tremendous voices in multiple roles and a conductor that knows how to hold its richness together without dissolving into incoherent excess. FWIW, I have not heard the Gardiner or Pappano recordings, but given what I know of each I fear they may go in the opposite direction, ie, sacrificing the "grand" in "grand opera" for something more slimmed down and lyrical. On paper, I also just don't think they have big enough voices, but I've been surprised before.


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## Huilunsoittaja (Apr 6, 2010)

I like to ignore ulterior motives or characters of composers. Like, I try to ignore that most composers of generations before us were racist, homophobic, misogynist, downright mean, etc. because that's just how life was back then, and I just listen to the music for what it's worth. Otherwise you get depressed thinking about it all.


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## hpowders (Dec 23, 2013)

I tend not to be seduced by the Wilhelm Furtwängler "magic". So I stay away.


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## elgar's ghost (Aug 8, 2010)

Musically, Gilbert & Sullivan. Which is strange, seeing I don't mind comic opera/operetta as a rule. The humour of Gilbert was often topically spot on and Sullivan was an effortless melodist but when taken as a whole it annoys the hell out of me for some reason to the point where I think I'm actually allergic to them - maybe it's all just _too_ mannered for my liking. Give me the Gallic bawdiness of Offenbach/Meilhac/Halevy any time.

No offence intended to any fans of G & S - we all have our blind spots. :tiphat:


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## Headphone Hermit (Jan 8, 2014)

Eva Yojimbo said:


> I think for anyone that loves .....


I acknowledge that your opinion is well-informed ... and reserve my right to hold a different opinion.

Very nice to welcome another lover of this work :tiphat:


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## Eva Yojimbo (Jan 30, 2016)

Headphone Hermit said:


> I acknowledge that your opinion is well-informed ... and reserve my right to hold a different opinion.
> 
> Very nice to welcome another lover of this work :tiphat:


Absolutely reserve your right; as a lover of the work I wished I could unapologetically love any recording. It reminds me of Tristan in that when I first fell in love with it all I heard was greatness in every performance, but as time went on I got more and more particular and persnickety. Maybe it's been long enough now that if I revisited it I'd fall in love all over again without being so picky.


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## Xaltotun (Sep 3, 2010)

The magical thing in this thread is the word "like". I ignore a lot of stuff, and mostly that makes me just slightly sad or mildly uncomfortable, but only a certain percentage of it gives me a great, perverse _pleasure._ That's basically Händel and the whole HIP movement. I get a real, misplaced _joy_ in being ignorant about them.


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## Headphone Hermit (Jan 8, 2014)

Eva Yojimbo said:


> as time went on I got more and more particular and persnickety


Maybe. I've been listening to it for 25 years - and I listened to it nine or ten times last year. I agree that 'perfection' isn't _quite _there and that both the Davis versions have their merits, but I find that in music (as in other aspects of life) I can love those with some imperfections :tiphat:


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## Figleaf (Jun 10, 2014)

Eva Yojimbo said:


> I think for anyone that loves and is quite familiar with that opera it's easy to find flaws in every recording. The first Davis is too slow and sludgy.


I don't remember which of the Davis recordings I have- I certainly have no ambition to own any more of his recordings than I do already- but I agree with your criticisms. They apply to his Benvenuto Cellini too, though I didn't get beyond the first CD. Life's too short!



Eva Yojimbo said:


> Les Troyens is grand on its own without being dragged out and obfuscated. Vickers is one of the all-time greats, but I don't think he was in his best voice on that recording.


Voices are always going to be subjective, but Vickers' is one I can't tolerate at all. Moving beyond individual reactions to individual voices, one would have thought that Guy Chauvet- the last great French Enée- would have been a better and more idiomatic choice... of course he did record the role several times.



Eva Yojimbo said:


> Lindholm is not an outstanding Cassandra, and when you combine that with Davis's tempo I think you get off to a bad start and it never fully recovers. The latter set's temp is better, the orchestra and sound better, securer, but the cast is also problematic. Heppner is one of the better modern "heldentenors," but I think he struggles as much as Vickers, though in different ways. Lang is a better Cassandra than Lindholm, but DeYoung is a worse Dido than Veasey. *Dutoit's is the only recording that has idiomatic French,* but I think the work is just a little too big for everyone involved. On balance, it might better than the Davis recordings, but it's close. Levine is blessed with the most talented trio, even though Domingo is a bit too lyrical and weak for Aeneas, his superior characterization makes up for it. Levine himself is a bit on the slow side too, but I think he doesn't lose as much clarity as Davis. I also don't think he caught Norman at her best either. Overall it's quite good with the least nits for me to pick.


What about Beecham? Provided you don't mind 1940s mono sound.



Eva Yojimbo said:


> Les Troyens is just a _very_ difficult work to perform. Like Wagner it requires tremendous voices in multiple roles and a conductor that knows how to hold its richness together without dissolving into incoherent excess. FWIW, I have not heard the Gardiner or Pappano recordings, but given what I know of each I fear they may go in the opposite direction, ie, sacrificing the "grand" in "grand opera" for something more slimmed down and lyrical. On paper, I also just don't think they have big enough voices, but I've been surprised before.


Big enough voices- that's a fair comment. But also French enough voices, not the standard international verismo singers like Domingo (whose recording I admittedly haven't heard... I like to ignore him, as per the thread title! )


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## Orfeo (Nov 14, 2013)

elgars ghost said:


> Musically, Gilbert & Sullivan. Which is strange, seeing I don't mind comic opera/operetta as a rule. The humour of Gilbert was often topically spot on and Sullivan was an effortless melodist but when taken as a whole it annoys the hell out of me for some reason to the point where I think I'm actually allergic to them - maybe it's all just _too_ mannered for my liking. Give me the Gallic bawdiness of Offenbach/Meilhac/Halevy any time.
> 
> No offence intended to any fans of G & S - we all have our blind spots. :tiphat:


I somehow feel the same way. Their music does not do much for me compared to Offenbach. Offenbach's a genius, hands down (an observant satirist with unending twists and turns). And yes, he was quite a daring son of a gun.


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## brotagonist (Jul 11, 2013)

The same as Headphone Hermit: I don't ignore any composer (I cannot say that I have ever been indisposed to any performer, not even Karajan ). Some haven't appealed to me as strongly on the one or few times I've given them a try as others I consider to be my favourites, but I'm always open to discussion, exploration, listening and, often, changing my mind. Just being on this forum and seeing albums and reading comments and discussion has gotten me to reconsider and reassess many a piece and composer. While I still don't listen to a lot of Chopin or Vaughan Williams, for example, I do listen to them and I am open to hearing more. Likewise, I used to be pretty cool to, if not outright dismissive of Rachmaninov and Saint-Saëns (more due to ignorance and inaccurate preconceived notions, than actually a dislike for their compositions); now, I find that they are interesting to me and I enjoy hearing their works. Opera, too. I used to say terrible things about opera, even though I had only heard a handful of them. Now, I've collected dozens.


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## Eva Yojimbo (Jan 30, 2016)

Figleaf said:


> I don't remember which of the Davis recordings I have- I certainly have no ambition to own any more of his recordings than I do already- but I agree with your criticisms. They apply to his Benvenuto Cellini too, though I didn't get beyond the first CD. Life's too short!


If it had Vickers then it's the early recording; Heppner was in the later. Actually, they're two very different performances. Apparently Davis isn't one of those conductors that gets stuck using one approach, so if you don't care for the one you have you might like the other more.



Figleaf said:


> Voices are always going to be subjective, but Vickers' is one I can't tolerate at all. Moving beyond individual reactions to individual voices, one would have thought that Guy Chauvet- the last great French Enée- would have been a better and more idiomatic choice... of course he did record the role several times.


Vickers never had what I'd call a beautiful voice, but he had power and I think he was a superb actor. His Otello is still the most moving I've seen or heard. Domingo is almost as good, but with less power and more beauty. I've heard of Chauvet but have actually never heard him. Did he ever record a (nearly) complete version of Les Troyens? I can't find one on Amazon...



Figleaf said:


> What about Beecham? Provided you don't mind 1940s mono sound.


Haven't heard it, but I have it somewhere. I remember someone else mentioning it on another forum last time the work was discussed. I should really make it a point to hear it (the Gardiner and Pappano too, which I also have but haven't heard).



Figleaf said:


> Big enough voices- that's a fair comment. But also French enough voices, not the standard international verismo singers like Domingo (whose recording I admittedly haven't heard... I like to ignore him, as per the thread title! )


Personally, diction doesn't bother me as much as it does others, and I think that great acting can come through even when the pronunciation is off, not to mention great singing. Strange that anyone would ignore Domingo, who has rarely been anything less than very good in anything I've heard, and great in quite a bit. He's not the ideal Aeneas, but he came off better than I expected, and Vickers and Hepner less well than I expected. YMMV of course.


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## Eva Yojimbo (Jan 30, 2016)

Headphone Hermit said:


> Maybe. I've been listening to it for 25 years - and I listened to it nine or ten times last year. I agree that 'perfection' isn't _quite _there and that both the Davis versions have their merits, but I find that in music (as in other aspects of life) I can love those with some imperfections :tiphat:


Well, you have me beat by quite a bit then! I think I first discovered it about 10 years ago. Gobbled up several recordings and listened to it dozens of times over a pretty short period. Got burnt out somewhat, which might have exacerbated my pickiness. I tend to get tired of things, even things I love, rather quickly and start to see flaws where I once just saw greatness. I wouldn't say I mind imperfections since they're usually inevitable, and even very imperfect versions can often bring out aspects that others don't, so they become valuable. There are, after all, moments where I think Davis's slower approach in the first recordings does work, like the famous love duet. Meanwhile, the terser second recording gets a lot of drama from the finales, especially the first and final acts.


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## Chronochromie (May 17, 2014)

Glenn Gould and Sergiu Celibidache.


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## Cosmos (Jun 28, 2013)

I tend to ignore many Americans, save for the handful of "minimilists" that I do like. I especially ignore those who use a lot of "popular" sounding tunes. Vague description, and a roundabout way of saying Gershwin and Bernstein. 

I ignore most pre-Baroque music. The aesthetic sounds way too off for me. it doesn't sound universal, it sounds antiquated in a way i don't care for.

I tend to ignore opera. Not a fan of the genre. So with that, I ignore Rossini, Verdi, and some Wagner

Another group I ignore are any "composer-pianists" from the early to mid 19th century who were more popular for being performers than musicians, and whose works, to me, are most interesting for their technical fireworks 

Specific names without specific reasons: Berlioz, some Romantic Russians like Mussorgsky or Balakirev,


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## Figleaf (Jun 10, 2014)

Eva Yojimbo said:


> If it had Vickers then it's the early recording; Heppner was in the later. Actually, they're two very different performances. Apparently Davis isn't one of those conductors that gets stuck using one approach, so if you don't care for the one you have you might like the other more....
> 
> ...I've heard of Chauvet but have actually never heard him. Did he ever record a (nearly) complete version of Les Troyens? I can't find one on Amazon...












This is the one I have. I couldn't say hand on heart it isn't cut quite a bit. It's on two CDs, including five bonus tracks from a different recording conducted by Manuel Rosenthal, with Louis Rialland as an elegant though lightweight Enée. I don't listen to it much to be honest, because I really like Beecham, and the excellent Marisa Ferrer is a better singer than Regine Crespin IMO- though Chauvet certainly is superior vocally to Jean Giraudeau, excellent artist though the latter is. The sound on the Sébastian recording is a bit muffled.

You could be right about Davis' first... perhaps it just seemed really slow because Vickers was in it! :devil:



Eva Yojimbo said:


> Vickers never had what I'd call a beautiful voice, but he had power and I think he was a superb actor. *His Otello is still the most moving I've seen or heard. Domingo is almost as good, but with less power and more beauty. *


Luccioni? Poncet? (Only highlights in the case of the latter )



Eva Yojimbo said:


> Personally, diction doesn't bother me as much as it does others, and I think that great acting can come through even when the pronunciation is off, not to mention great singing.


It's more to do with style generally than pronunciation. Hard to explain, but when you hear French singers in French music you'll know what I'm trying to say.



Eva Yojimbo said:


> *Strange that anyone would ignore Domingo*, who has rarely been anything less than very good in anything I've heard, and great in quite a bit. He's not the ideal Aeneas, but he came off better than I expected, and Vickers and Hepner less well than I expected. YMMV of course.


I'm assuming (rightly or wrongly) that you're too young to remember this: 






Although Domingo doesn't seem quite as bad as Carreras, who does this ludicrous thing of going up on his little tippytoes every time it's his turn to sing a phrase... if 'sing' is the word for that hard wobbly noise emitted by those three. :lol:


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## Becca (Feb 5, 2015)

Eva Yojimbo said:


> I
> Les Troyens is just a _very_ difficult work to perform. Like Wagner it requires tremendous voices in multiple roles and a conductor that knows how to hold its richness together without dissolving into incoherent excess. FWIW, I have not heard the Gardiner or Pappano recordings, but given what I know of each I fear they may go in the opposite direction, ie, sacrificing the "grand" in "grand opera" for something more slimmed down and lyrical. On paper, I also just don't think they have big enough voices, but I've been surprised before.


I suggest that you might want to check out the Gardiner. While I grant you that Gregory Kunde doesn't have a big voice, he and Susan Graham make a marvelous combination. Also Anna Caterina Antonacci is a superb Cassandra. It is all helped by Gardiner's use of the actual instruments specified by Berlioz, rather than modern (semi-)equivalents.


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## brotagonist (Jul 11, 2013)

For the record: I don't ignore Glenn Gould. I have one album, his Schoenberg Piano Music. I don't have more albums, because I have alternate performances of just about everything he has done and I haven't yet felt the need to have another version... but some day?


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## Pugg (Aug 8, 2014)

brotagonist said:


> For the record: I don't ignore Glenn Gould. I have one album, his Schoenberg Piano Music. I don't have more albums, because I have alternate performances of just about everything he has done and I haven't yet felt the need to have another version... but some day?


You really don't have to justified yourself , if someone for whatever reason doesn't appeal to your taste just let it be.
I know I certainly do and ignore the bullies and haters


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## Sloe (May 9, 2014)

Figleaf said:


> I'm assuming (rightly or wrongly) that you're too young to remember this:
> 
> 
> 
> ...


They are/were great singers all three so I think we can oversee that.


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## Fugue Meister (Jul 5, 2014)

brotagonist said:


> For the record: I don't ignore Glenn Gould. I have one album, his Schoenberg Piano Music. I don't have more albums, because I have alternate performances of just about everything he has done and I haven't yet felt the need to have another version... but some day?


Your missing out, especially his Bach recordings which in my opinion are definitive for the piano.


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## senza sordino (Oct 20, 2013)

I have on my ignore list:
Wagner, Bruckner and Liszt. Glen Gould gets ignored too. 
I tend to ignore a lot of, but not all, solo piano music, baroque wind concerti, songs, and a lot of opera. 

We all have our likes and dislikes. 

P.S. I would never presume that what I like is better. I totally respect anyone who likes the music I ignore. I might not "like" your selection and post on current listening though.


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## Eva Yojimbo (Jan 30, 2016)

Figleaf said:


> This is the one I have. I couldn't say hand on heart it isn't cut quite a bit. It's on two CDs, including five bonus tracks from a different recording conducted by Manuel Rosenthal, with Louis Rialland as an elegant though lightweight Enée. I don't listen to it much to be honest, because I really like Beecham, and the excellent Marisa Ferrer is a better singer than Regine Crespin IMO- though Chauvet certainly is superior vocally to Jean Giraudeau, excellent artist though the latter is. The sound on the Sébastian recording is a bit muffled.


If it's on two CDs then it would be severely cut! The entire opera requires filling up four CDs, so with the bonus tracks it would mean it's less than half the opera! Thanks for the rec, though; I may hunt it down just to hear Chauvet.



Figleaf said:


> Luccioni? Poncet? (Only highlights in the case of the latter )


Again you've mentioned names I have not heard and am not finding on Amazon. Any specific recs?



Figleaf said:


> I'm assuming (rightly or wrongly) that you're too young to remember this:


Oh no, I definitely remember them, I just (and to bring it back to the thread) ignored them as I've always been more interested in hearing singers in the context of singing operas rather than excerpts to show off their voice.


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## Eva Yojimbo (Jan 30, 2016)

Becca said:


> I suggest that you might want to check out the Gardiner. While I grant you that Gregory Kunde doesn't have a big voice, he and Susan Graham make a marvelous combination. Also Anna Caterina Antonacci is a superb Cassandra. It is all helped by Gardiner's use of the actual instruments specified by Berlioz, rather than modern (semi-)equivalents.


Thanks for the vote of confidence. I will check it out eventually, and all this discussion is making me want to revisit the opera. :cheers:


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## Headphone Hermit (Jan 8, 2014)

^^^ How refreshing .... on a thread about composers and works that we *don't* like, we have a sidetrack into recommendations of a work that some of us *do* like

It often appears to work the other way round - a thread about why someone/thing is liked ends up in mud being slung

Bravo!


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## mstar (Aug 14, 2013)

I largely ignore Vivaldi, Gould, and a bunch of other composers I don't know the names of.


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## Abraham Lincoln (Oct 3, 2015)

Alma Deutscher.


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## Dim7 (Apr 24, 2009)

Abraham Lincoln said:


> Alma Deutscher.


Judging from your posts you are not ignoring her at all...


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## Abraham Lincoln (Oct 3, 2015)

Dim7 said:


> Judging from your posts you are not ignoring her at all...


Ignoring the actual her and paying more attention to my fictionalized depiction of her.


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## Pugg (Aug 8, 2014)

Headphone Hermit said:


> ^^^ How refreshing .... on a thread about composers and works that we *don't* like, we have a sidetrack into recommendations of a work that some of us *do* like
> 
> It often appears to work the other way round - a thread about why someone/thing is liked ends up in mud being slung
> 
> Bravo!


So, you do read them and even participate in it, I suppose?


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## Becca (Feb 5, 2015)

I haven't spoken up here because I can't think of anyone who I really try to ignore ... until I remembered Lukas Foss, both as composer and (particularly) conductor. Now back to ignoring him!


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## Kjetil Heggelund (Jan 4, 2016)

I forgot about Eric Satie. I like to ignore him too


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## Blancrocher (Jul 6, 2013)

I was sitting across from someone who looked unnervingly like John Adams on an airport shuttle recently. I wanted to ask, but instead I kept trying to avoid looking him directly in the eyes. It's a painful memory.


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## Headphone Hermit (Jan 8, 2014)

Pugg said:


> So, you do read them and even participate in it, I suppose?


Sorry, Pugg - I am not sure that I understand what you are getting at here.

However, I try very hard to avoid slagging off composers and performers that I dislike. Quite simply, there seems little point in insulting the things that someone else likes simply because I don't. 
And I try hard to avoid saying something that upsets another member - and if I do, then I would be happy to apologise if necessary


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## Kjetil Heggelund (Jan 4, 2016)

I didn't start this topic to make a riot or anything, just some fun for no reason, just like me not listening to the Planets by Holst...oops, sorry again


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## hpowders (Dec 23, 2013)

I ignore performances by Barbarolli, Casadeseus, Barenboim (both guises), Heifetz, Arrau.

These folks don't move me.


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## OldFashionedGirl (Jul 21, 2013)

Handel, Chopin, Liszt, Schubert, Schumann, Sibelius, Wagner, Vivaldi and any composer from the minimalism movement.


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