Or to persons who care not a fig for your Earth Points. 

<smug git>

Indeed! Thank you Richard - it pays to read the clues PROPERLY!

While agreeing with Member Iron that Mr. Leonhardt's is vastly better than the performance of the deluded Dutchman we are nevertheless unable to consider it faultless or faithful; a number of its imperfections strike one at once. Specifically at the beginning: there is too much delay or hesitation, a rubato let us charitably say, on the third note in the right hand (the G-E chord), whereas the sheer musicality of the exposition of this theme calls for an absolutely strict rhythm - an equality of beats that as the music progresses will enable all the various inner thematic relationships to appear of themselves; a simple-minded and routine rubato "interpretation" distorts or destroys this process by giving undue emphasis to one aspect or relationship over others, whereas it were better to allow the music to speak for itself. When a performer that is with his hesitations and "expressiveness" starts suggesting "Listen to this . . . and now listen to this" we simply feel he is being condescending supercilious and overfamiliar. "Leave it alone!" we cry, "Let us work it out for ourselves!" Then the note immediately following, the low C in the bass, is sounded far too lightly, whereas the bass should here be the driver of the whole process and this C should be at least as loud as the first note of the work (the F).

And another word from Tovey here may not be out of place. "Bars 4 to 8 show at once that this is not a slow movement," he writes, "nor is there anything else in the course of the Prelude to indicate any restraint on a moderate Allegretto tempo."

Nor we. They are completely unknown to us but rather beautiful in their own way they are. We have a suspicion that they may be the work of composers whom we have decided on little grounds other than prejudice are 'not for us'. Among the joys of Mr Grew's Quiz is not it that such prejudices often can be lifted from our trammelled minds!

We have no idea at all but fearing no longer the jeers of the crowd at our folly wonder whether Poser 517 might be the work of the Englishman Mr Finzi or perhaps the Holborn man Mr Coleridge-Taylor?

We are grateful to Member Martle for his rebuke. We were foolishly under the impression that Mr Finzi had composed a Clarinette Quintette but shall from this day forever recall the sting we have received if ever such a supposition should enter our minds again and shall repel it upon an instant as the work of a Cunning Deceiver.

Ah - isn't that sweet?

Baz