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A selection of letters received from our readers. We welcome your feedback on the points raised here, or on any other issues.

From: Philip Hyman (BBC Radio 3 Presentation)

I wonder whether any of your readers and reviewers has any information at all about the Italian musician / conductor Lorenzo Molajoli.

In the late 1920s a number of very fine opera recordings were issued using the La Scala Milan forces conducted by Molajoli: examples include Rigoletto starring Stracciari, and the first-ever complete recording of Ponchielli's La Gioconda (recently reissued by Naxos).

There is no trace of Lorenzo Molajoli in any reference book, and the only Internet mentions of him are where he is named conductor of opera sets. He seems to have disappeared after about 1932.

His recordings have a swing and bite that are quite splendid and I would very much like to glean some biographical information about him. Perhaps even a photograph ... .!!. . ??

Where did he come from, who educated him, where did he go to, why did he disappear so soon ...?

In short ..... Who was Lorenzo Molajoli ?

I do hope 'someone out there' can help.

From: Jerry Gerber

Thank you for reviewing my CD Rebel Planet.

Though there is no disagreement with your taste; if you don't get pleasure out of a sound then that is your experience. But I must point out that you said in the review 'This to me is a deterrent: by losing natural sounds which are the basis of all music brought to life by artists.' I hope you realize that electricity is a fundamental force in nature and our hearts beat and our brains work because of it. Do you really believe that animal gut, metal, bone or wood is more 'natural' than electrons? Taste aside, this is an error in your thinking, but I nevertheless respect your experience. I would hope your bias against the virtual orchestra is based more on your direct experience, rather than your experience based on your bias against so-called 'unnatural sounds'.

From: Basil Ramsey, Editor

Yes, I should have been more precise. I do not enjoy sound produced in this way as it fails to engage my attention.

From: Lori Roberts

I would like to make you aware of a book and a CD (The First Lesson) on bel canto vocal technique: The Voice; A Spiritual Approach to Singing, Speaking and Communicating by Dr Miriam Jaskierowicz Arman PhD, world reknowned vocal pedagoue/ technician and Bel Canto specialist. I believe that her book and CD are the answer to so many singers questions and technically it is the most import work in many many years ... I heard Dr Arman in one of her masterclasses and the most miraculous things happened to voices in minutes after she positioned, or better repositioned them into the correct place. Her book and CD has eared recommendation by the National Association of Music Educators in the United States. Here is a website which will give you more of an idea of who she is and what she does: You can also check out the reviews of the book and CD on

From: Dr Gabriel Gojon

I have followed your discussions on classical music and have found them to be most illuminating. I love classical music but I am no expert on it so I would appreciate your advice on something. My passion is for ultra complex classical (or otherwise) compositions. What composers and or pieces would you recommend to me that have such characteristic (the highest level of complexity)?

P.S. I know it is difficult to answer such question and that it is somewhat ambiguous but I will appreciate any hint.

From: Basil Ramsey, Editor

Your letter opens up vast areas of music both old and new. Any good history of music will help you to lay down guidelines, from which you can select chronologically what music you choose to study. There's plenty of material to inform you, and plenty of records to illustrate the music of significant composers.

From: Victoria

I am a new subscriber thanks to the wonderful Jennifer Paull article I read recently, among many others.
Thanks -- what a wonderful publication!

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