Indeed! I have a (by now) very dusty and crackly cassette of that buried somewhere in a box, but haven't heard it in years. Fabulous. Where are the Cathys of this world now?

Thank you, Bryn.
Jacob David Sudol is a phenomenon composer. May be the word tremendous is good to use.
Whatever is the better word to use I enjoyed the music very much.
This is exact lines in the book that I am on.
I will not read any further this evening, but I hope to continue my reading tomorrow.

Now this is what I call embarrassing.
I can see clearly those two Attention Deficit Disorders as two last students are really bad for me.
I had two good students (Living Cert) at first and was in good form.
One wants to be a doctor. The second (also Living Cert year) doesn't know yet what she wants to be, but she is the leader of children's orchestra now. She likes piano better and doesn't take violin lessons this year. She is good on both instruments and is very pretty now. They go to the same college with the first boy.
I usually end Friday with a good boy of 14 years of age who is in grade 5 Associated Board. He only studies piano for two years. I like him a lot. He is very smart. His mother comes with him because they come from Athenry. His mother is an artist (painter). I love them very much.

The good point is that I don't have to remember a new name. I know now that I loved Berio's music. I can not say I don't like him anymore.

I am reading in that article by Judith Harrington that Dublin was musically an ideal city. There were many operas performed in Dublin and tickets were cheap.
Joyce went to Paris - supposedly to study medicine. He managed to see Sarah Bernhardt and possibly one Wagner opera.
He went to Holy Week services, as he would contibue to do for much of his life. Although he had rejected the Church, Joyce remained fascinated by Holy Week's dramatic somber liturgy. Near the end of A Portrait, Stephen and Lynch talk about aesthetics, Plato and Aquinas. Stephen's remarks convey part of what Joyce found compelling during Holy Week:
He [Aquinas] wrote a hymn for Maundy Thursday. It begins with the words Pange lingua gloriosi. They say it is the highest glory of the hymnal. It is an intricate and soothing hymn. I like it: but there is no hymn that can be put beside that mournful and majestic processional  song, the Vexilla Regis of Venantius Fortunatus.
The Vexilla Regis dates back to the 6th century and is seldom heard today. We are more likely to be subjected to 'Let's-shake-hands-and play-the-guitar' Quel dommage.

I will have to find out what the hymns are.

As I managed Tristram Shandy this summer, I will give Ulysses another go.

The style reminded me of nothing so much as Ronald Firbank so far.

Why is Ulysses pronounced with the accent on the first syllable for Joyce, but on the y whenever else I hear the word?

The hymns tp mentions were part of the Divine Office, evening and morning prayer, with set plainchant tunes and would probably not be popularly know.  Vaughan Williams set the English translations to plainchant tunes in English Hymnal through which I am familiar with them.  Pange lingua was a passion tide hymn, and Thomas Aquinas used the opening words for a different eucharistic hymn when he composed the office for the feast of Corpus Christi.  We always sing Aquinas' hymn on Maundy Thursday in the procession to the altar of repose.

Here is what Judith Harrington writes about construction of Finnegans Wake and its connection to music.

In Finnegans Wake Joyce tries to emulate what takes place in music, although written language is confined to the restrictions of print on a page - letter by letter, word by word -  in a relentlessly uni-directional and linear format. wtih music we're able to hear notes, chords, instruments, and voices simultraneously. In ensemble singing we even hear different sets of lyrics at the same time (heoped these days by Super Titles). Some of the Wake's dense language is constructed on a bedrock of song cobbled together with multi-lingual fragments and puns that expand the potential of the printed word, while clogging our comprehension. When we read Finnegans Wake aloud, we hear and understand notiveably more that when we read it silently. Joyce well knew that songs work the same way.

Many readers are familiar with the closing lines from Finnegans Wake whidh resemble some of 'Dido's Lament' from Purcell's Dido and Aeneas. As Dido is dying of grief, after Aeneas returns to Italy she sings:
...Darkness shades me....Death invades me....
Death is now a welcome guest.
When I am laid in earth, may me wrongs create
No trouble in thy breast:
Remember me, but ah! forget my fate.

The song is sung over a repaeated line of falling notes representing Dido's descent into the grave, whereas Anna Livia Plurabelle is escorted away from her world by the river Liffey amidst waves of language. Each heroine merits her sublime exit.

I didn't know that Ron.  Holst could have known the plainchant through either his chum, Vaughan Williams, and his English Hymnal, or through his work with the communist, Anglo Catholic Vicar of Thaxted, Conrad Noel.

(Noel was appointed Vicar of Thaxted by Edward VII's former mistress, the left wing Daisy, Countess of Warwick.)