Well, I said I could be on this for hours. I seem to like any classical piece that has good melodies--(just like any other piece that has a good melody). If it evokes scenes or a story, that's even better.   And if it has really colorful orchestration, that's the hat trick. One that has it all is Rimsky-Korsakoff's Scheherezade. Another great one by him that meets all 3 criteria is Russian Easter Overture.

I really like the Mahler First Symphony for several reasons--first it's just one glorious melody after another, with great orchestration. Secondly the second movement has a very ponderous minor-key version of Frere Jacques. It really sounds absurd---and I always imagine Mahler was showing an impish sense of humor by doing that--not something you'd expect from Mahler.

With very very few exceptions, I really like virtually every piece I've ever sung in a large group--and having done that for over 20 years, that's quite a few. By the time we actually perform a piece, it's an old friend--even some of the modern pieces. Too bad the audience only gets one chance at most pieces-- often the modern pieces take some getting accustomed to. But then I probably have more conservative taste in classical music than some--certainly some in my group like modern pieces a lot more.

And I was in a madrigal group for over 10 years--so I also love a whole bunch of madrigals--especially the more chromatically challenging ones and the ones that have over 4 voices--they seem so much richer-- e.g. Weelkes, Gibbons, and Gesualdo--though I haven't done much Gesualdo--would like to do more.

And I also like virtually every piece I've ever played--though I haven't been in an orchestra in over 20 years. But back then I've played lots of Handel, Corelli, lots of Baroque in general, some Beethoven symphonies, country dances, Mozart, Dvorak etc.

In my experience, familiarity does not breed contempt-- it's exactly the opposite.

Helen, thanks for your info on the Bruch--I'll definitely look for it.