Well, I still haven't heard any Kauder (he or his descendants have set up their own website, though.) Gernsheim, though, I've now heard four symphonies (on Arte Nova), a cello sonata (Genesis LP), and the cello concerto (broadcast tape) by, and I'd say he's revivable. My honest, singular, and just meant to be my subjective opinion, which is not, thousand times not, meant to mean that those who disagree with me are lacking in anything, to paraphrase what pTerry finds so disagreeable about abusers of "imho" *chuckle* ... But I don't mean that you mightn't want to try out those symphonies on Arte Nova; or his 2nd string quartet when the Mandelring quartet records it for the (Europe-only, I gather; hopefully some US distributor will pick it up ... sigh) Lotus label, too, as is on their list of projects, according to their website. The first of his violin sonatas was broadcast over Bayer region radio a few months back, sometimes a sign that someone's mooting a recording project, sometimes not. His first piano quintet has also been radio-broadcast in Germany. I've looked at a large number of his scores, unlike Kauder (I've only looked at one of his), so while I'm -not- an expert on Gernsheim, I have some notion what I'm talking about and whether there's a there there... and having heard some of them reinforces me in the notion. But ultimately you have to be your own judge of the matter. Stylistically somewhere - well, Mendelssohn, Schumann, Brahms, chromatically a bit more advanced especially in the later works? The August 1999 Gramophone review of the symphonies gave a reasonably good description of them, even though from scores I still prefer his chamber music to his symphonic music- but the symphonies are growing on me anyway with repeated listening. Not sure just what to say about stylistic comparison, no. Not something I excel in describing.

mark, this is the reason i would like to connect with you. in 1970 when i was just 16 years old i discovered nancarrow. i bought a recording of the studies for player piano. my parents couldn't stand it but i played it every day. i connected with the fact that these pieces could only be played mechanically. except that, later on, the works were performed live by 16 players at 8 pianos. oh well, you'll never respond. maybe one of your "regulars" will understand.

I think focusing on the "impossibility" of Nancarrow's music is the wrong way of looking at things. He used the piano as a sort of mechanical sequencer. It was a tool, he used it.