Apologies

I never got back to you properly about Wynton and Haydn and now I fear I never will: sorry. Briefly, I just felt that it was a bad example because (in my view) it both overestimated the impact of Wynton's recording, and underestimated how popular and well-known the concerto already was before Wynton was even heard of. It seems to give a status to that one recording which is not due (I speak as a trumpet player who very much admires Wynton as a player, but is very suspicious of the hype which sometimes attends him) and which seems to ignore the many fine recordings of this piece which have been made before and after that one. It's not a situation like Gorecki 3 or the loathsome The Piano. It just, from where I am sitting, entirely lacks the feeling of a crossover. It's just one good recording, among many, of a very popular piece. LOTS of non-classical-specialists could whistle the 3rd movt tune while Wynton was still at school! ) I'm sorry to do this to you as you now won't have a chance to argue with me, but it's the best I can manage right now. Best wishes, Neville (  07:39, 16 Jul 2004 (UTC) )