I’m actually not a huge Mozart fan either…

Sibelius is good example of public opinion shift: a musical hero up into the 1950’s (though, some detested him even then for his “conservatism”), then fell out of favor and he might be having a comeback now?

As for Rachmaninoff: You’re right. Already in his lifetime some of his works weren’t successful with the public or the critics (like the Third Symphony). Even today I read many times that the melodies and lush orchestration of the 2nd Symphony are “just too much”. At first they overwhelm the listener, I agree, but if one listens more often, better yet with score, you might discover the wonderful polyphony and see that there is indeed depth to Rachmaninoff’s music.

Yeah, I’m guilty too. Although I (hope) I’ve learned to try and make it clear that it’s just my opinion when I write about composers I dislike…

I think it’s particularly interesting when the consensus manages to shift dramatically over time as well. Like with Rachmaninoff: wasn’t he basically dismissed at first? I think it’s only recently that critics have announced that he is an acceptable choice of composer, according to their inflated sense of judgment.

And as you point out, within classical music it’s bad enough, but between genres it gets way nastier.

On a more serious note:
The whole snobism becomes even more tiresome when you listen to mulitple genres of music and than have to defend their “merit”. Like, if you listen to and like film music: besides Korngold or Herrmann everything else is trash (even Shosty’s film music is third-rate socialist propaganda!).

Or an even better example: the merits of rap music — as I had the chance to witness such a discussion recently.

I’m going to poke around on Amazon and laugh at people arguing over CDs now. It’s kind of crazy how defensive people get at defending their personal opinions, particularly with music and film tastes…

Yvonne:

Interesting point… it must be sort of frustrating writing program notes if you actually have negative opinions of a piece/composer and have to try to avoid letting them spill in. However, as we both attest to, I guess they sometimes don’t do a such good job at avoiding that. Unfortunately a little hint of condescension about a piece/composer you like really fires up ones outrage. Which I guess leads back to my comment to JonJ up there about overreacting to other peoples opinions…

And therein lies the very particular art of the liner note writer.

There’s absolutely a place for criticism and measured scholarship and for lively debate about the value or otherwise of composers, but liner notes need the voice of the advocate to dominate.

PS. I love Mendelssohn and will never tire of listening to his masterpieces. Yes, not all his works are masterpieces, but that’s not the point.

What is really amusing are the evaluations of performances the “fans” give, especially in the field of opera. The raging arguments on Amazon about this or that recording always leave me in stitches.