More Reasons for the State to Fund Classical Music

This from an article about the Spitzer debacle:

"Shortly before his pre-Valentine Day's Washington, DC, hotel tryst with the call girl now publicly known as "Kristen," Spitzer asked his aides in the Mayflower Hotel if they had a classical-music CD he could bring to his room, a witness said.

Between 9 and 9:15 p.m. on Feb. 13, Spitzer came down to the hotel bar and asked his contingent of about eight for a CD, which no one had, the witness told The Post.

The governor - normally a rock fan who last year attended a Bruce Springsteen concert in Albany - was said to be wearing a blue sweatshirt and jeans.

"At the time, he claimed it was to help him focus and concentrate," the source said of Spitzer. "He said he was going to work late into the night."

The governor was seeking the mood music just minutes before the prostitute arrived at the hotel."

I wonder, was it Berg's Lyric Suite with it's coded messages of love and betrayal, or even Lulu (Traviata being too obvious save for the Pretty Woman set?). Threepenny Opera? Tristan? I would love answers--if he liked, say, the Eroica symphony, which recording? Was he a fan of the clipped, relentless school favored by Toscanini, or did he prefer Furtwangler's Wagner-like barline-free mellifluousness? Did he go in for the brooding angst of Shostakovich--particularly since tax dollars were involved--or the carefree fripperies of Vivaldi violin concertos (how dissapointing). Was it the elegant machismo of Copland's Third that made him able to "concentrate" so vividly, or was it the second movement from Ravel's Piano Concerto in G? Maybe he went in for the hard dissonances of a Boulez, or the quiet murmers of a Webern?

I wish I knew. But with the state of music education in New York, it is easy to see why even the highest price call-girl or Secret Service agent can't help but be vague.

What's sadder: the term "mood music," or the fact that nobody in the retinue had any?