HDTenEightyP/NetNews huggingface dataset:
From: jqdoumen@vub.ac.be (Doumen Jan)
Newsgroups: rec.music.classical
Subject: Kuijken / La Petite Bande articles available
Date: 25 Jan 1993 08:12:07 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

For those who are interested in the 
Kuijken family (Sigiswald, Barthold and Wieland Kuijken,
La Petite Bande, The Kuijken Quartet, The Kuijken Consort)
and don't find too much information about them.

Kuijken.readme :

This file contains articles about the Kuijken family 
which were originally published in Dutch in Belgian 
newspapers or magazines. Because I have been told 
that out of Belgium there doesn't seem to be much 
information available about these musicians, and 
because of the lack of large amounts of net-inf. about 
classical music in general, compared to other domains, 
I decided to contribute my part by translating these 
articles and dropping them on the net.

You can always help me by :
-dropping me a line if you find major or minor 
linguistic or grammatical mistakes.
-telling me about, or sending me copies of other 
articles in any language.
(Perhaps I can enlarge this file till it becomes a net-
reference to this family of wonderful musicians.)
-sending me a list of their recordings which you have 
in your collection.
-any comments.

I would like to thank the following people for their 
assistance :
Carlos Escalante, for whom I originally started to 
translate these articles
Marianne Stes, for helping me translate from Dutch to English. 
Willy Verheulpen, for assistance in making the post-
script version of this text.

Where to find the texts :

The ASCII-text is available by sending a mail to listserv@aearn with in the 
body 'get kuijken.00*  ', with * the number corresponding to the article
you want.

Or you can ftp the ASCII and PS files from
ftp.wu-wien.ac.at (/pub/earlym-l/kuijken)
and cs.uwp.edu (pub/music/articles/kuijken).

Or via Gopher from gopher.wu-wien.ac.at

The following files can be found there :


      Postscript                                   ASCII

                                               kuijken.readme
KuijkenStringQuartet.eps                       kuijken.001
TheInstrumentShowsMeTheWay.eps                 kuijken.002
BaroqueMusicGivesThePeopleTranquility.eps      kuijken.003
ToSpeakWithWordsOnceAgain.eps                  kuijken.004
SigiswaldKuijkenWinsTheCrescendoPrice.eps      kuijken.005
TwentyYearsLaPetiteBande.eps                   kuijken.006

Have a nice reading.

p.s. - Two more articles are being translated. One from a German magazine 
       and one recently published in Belgium.
     - I also made a discography and this will be available soon.
     - The post script versions contain scanned images, that's why they
       are so large.

DeJean.	
Vrije Universiteit Brussel
Instituut Voor Moleculaire Biologie	
Dienst ULTR
Paardenstraat 64
B-1640 Sint-Genesius-Rode
Belgium

Doumen Jan
Wolvertemsesteenweg 210
B-1785 Merchtem
Belgium

jqdoumen@vub.ac.be
jqdoumen@bbrbfu60.bitnet

Newsgroups: rec.music.classical
From: km34@cunixf.cc.columbia.edu (Keith Moulton)
Subject: Opera&Hollywood
Reply-To: km34@cunixf.cc.columbia.edu (Keith Moulton)
Organization: Columbia University
	It has occured to me that if contemporary opera wants to succeed as
	I am so disappointed that the New York City Opera could not work out
	Now here's an idea:  How about "The Graduate" done as an opera?  (you
	Of course, there is no need to copy the movies outright; but, at least
	Opera was not intended to be an "intellectual" art, and the art of
Date: Thu, 21 Jan 1993 23:27:42 GMT

Keith Moulton.

Newsgroups: rec.music.classical
From: dmilette@mudhead.uottawa.ca (Denis Milette)
Subject: Sunday morning music selection
Organization: Computing & Communications Services, U of Ottawa
Distribution: na
Date: Thu, 21 Jan 93 14:50:07 GMT

Hello,

Just like the title says, would anyone suggest me a few music
selections for any given sunday morning? You all know the perculiar
atmosphere that day carries while sipping your morning coffee.
As you gaze with an uncertain eye your backyard, wondering as to why
in fact you woke up!
Submit seasonal variances is you so wish. 
Thanxs

Denis M.
(also at dmilette@panda1.uottawa.ca)


-- 
Denis Milette                          "confidence is high"
Service des communications telephoniques / Voice Communications Service
Universit d'Ottawa / Ottawa University
dmilette@mudhead.uottawa.ca    dmilette@panda1.uottawa.ca
Newsgroups: rec.music.classical,soc.culture.german,bit.listserv.allmusic
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Boston soprano Amelia Broome sings Mozart and Strauss
Organization: Mail to News Gateway at Wang Labs
Date: Thu, 28 Jan 1993 17:56:05 GMT

BOSTON, MA--January 27, 1993--Soprano Amelia Broome, a Massachusetts
favorite, performed Sunday in the Boston University Concert Hall,
with collaboration by Denette Whitter on piano.  The enthusiastic
audience enjoyed her renditions of Mozart's Als Luise die Briefe
ihres ungetreuen Liebhabers verbrannte and Abendempfindung, along
with a number of works that she sang in French.  She was indeed
impressive that night.

After singing a wide variety of selections by Poulenc and Turina, she
switched back to her equally impeccable German with Richard Strauss'
Staendchen, Ich schwebe, Nacht, Zeitlose, Schlagende Herzen, and Nichts.

The delightful evening closed with Argento's Songs About Spring
(e.e. cummings), after which the audience called her back for an
hilarious encore that generated roars of laughter.

Amelia Broome appears regularly in Massachusetts in leading roles with
the Longwood Opera.

Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.classical
From: napier@cs.ucsd.edu (Jim Napier)
Newsgroups: rec.music.classical
Subject: What is this music?
Date: 26 Jan 1993 16:20:26 GMT
Organization: AMES Dept., UC San Diego
Distribution: world
NNTP-Posting-Host: sierra.ucsd.edu


There's a new Acura Legend commercial on TV that shows a Legend driving down 
a row of columns while large metal balls swing back and forth between
the columns. While this is happening some rather moody sounding classical
music is playing. Is this piece of music an excerpt from something else or
something that was just put together for the commercial? Thanks.

=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
Jim Napier
Systems Administration
Applied Mechanics & Engineering Sciences Dept.
UC San Diego
(619)534-5414
napier@ames.ucsd.edu
=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: Panufnik violin concerto.
Date: 23 Jan 93 11:45:58 GMT
Organization: St. Andrews University, Scotland.

In article <1993Jan22.164042.2957@brandonu.ca> hanly@brandonu.ca writes:
>An excellent work which one seldom hears is the concerto for
>violin by Andrjez Panufnik, who died quite recently. I heard
>it on the radio the other day played by James Ehnes but I
>gather there is a recording of it available as well. Anyone
>else any opinions on this work or the recording of it?
>Cheers, Ken Hanly.

Yes, I heard it played live last year and was quite impressed by it.
Well worth investigating. I believe its out on CD - on the Conifer label
I think.
Gavin Ramsay
From: bcc@tools8teradata.com (Brian Cantin)
Newsgroups: rec.music.classical
Subject: Re: From The New World
Date: 25 Jan 93 23:35:34 GMT
Organization: NCR/Teradata Business Unit

In article <srgcraf.16.0@grace.cri.nz>, srgcraf@grace.cri.nz (Ross A Fletcher) writes:
|> In article <1993Jan18.000156.17501@hubcap.clemson.edu> epohl@hubcap.clemson.edu (A replicant) writes:
|> >From: epohl@hubcap.clemson.edu (A replicant)
|> >Subject: From The New World
|> >Date: Mon, 18 Jan 1993 00:01:56 GMT
|> >
|> >I'm looking for a good recording (CD, please) of Dvorak's Ninth...
|> >any suggestions? 
|> 
|> 
|> There are a zillion recordings of this symphony - many in isolation i.e. not 
|> part of a full Dvorak cycle.  Because it's so popular every budget label 
|> issues versions as well.  Some of these performances by obscure 
|> orchestras conducted by unknown conductors may well have merit.  I like the 
|> LSO/Istvan Kertesz recording on EMI which was part of a cycle but issued
 
The Kertesz is on Decca/London, not EMI.  The performance is one of the better ones.
 
|> singly as well.  I suggest you consult the Penguin CD Guide.  You will then 
|> get the opinions of the guys who have probably listened to a good percentage 
|> of the zillion versions.

The Penguin CD guide is a good source of information.  Of course, there is also Jim Sveda's
Record Shelf Guide.  Sveda's book is also very good.
It have also found the Stevenson summary of magazine reviews to be useful.  However, I have
not seen a new issue since June/July.  Is Stevenson still in business?

|> 
|> Ross

-- 
Brian Cantin
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: Messaien Organ Music - Recommendations Please
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Mon, 25 Jan 1993 18:05:30 GMT


Here are some of the pieces that are currently available:

Apparition de l'Eglise eternelle
L'Ascension
Le banquet celeste
Les corps glorieux
Diptyque
Livre d'orgue
Livre du Saint Sacrement
Messe de la Pentecote
La nativite du Seigneur
Verset pour le fete de la dedicace

Much of this is available on the BIS label.

If you really want to get into it, Messiaen himself recorded his
complete organ works in 1956, available on Angel.

- BK
From: pieterh@sci.kun.nl (Peter Herweijer)
Newsgroups: rec.music.classical
Subject: Re: Classical Music for modern instrument (was Re: The shortest distance between two chords is...)
Date: 27 Jan 93 10:22:28 GMT
Organization: University of Nijmegen, The Netherlands

In <1993Jan26.001625.26188@darwin.sura.net> jmalcolm@sura.net (Joseph Malcolm) writes:
>In article <C1Er20.2DC@sci.kun.nl> pieterh@sci.kun.nl (Peter Herweijer) writes:
>>In <1993Jan23.033540.11775@colorado.edu> judd@wilkinson.cs.colorado.edu (Stephen Judd) writes:
>>
>>>I am simply looking for new music to explore, particularly that which is
>>>harmonically creative in a devoid area, i.e. real innovation.
>>
>>I am going to be slaughtered for this...

>One hopes not. It would probably be very unpleasant.

Oh, I can take some beating... one gets used to it...

>>(Some, not all) Metal, Trash, Grindcore, Deathmetal.
>> [...]                You'll find -if you can make it out through
>>the distortion- harsh dissonances, tonalities all over the place,
>>irregular meters etc.

> [...]      perhaps some other person who enjoys both classical
>and metal (yes, they do exist) and knows something of musical theory
>can make some recommendations?

Yes, they do exist, don't they?

Try Primus, for a start. It's not exactly belcanto, but it's the
only band I ever heard play in (3+3+3+2)/4 time (on 'Sailing the
seas of cheese').

>>Of course, it's what most people would refer to as an 'unholy racket'.
>
>Yes, that is rather the point. Typical thrash, death metal, and grindcore
>vocalization techniques are also an acquired taste.

Rather.

>>It is also as far from classical music as one can get.
>
>Perhaps. Surely the classical music world has had its makers of much
>noise?

Did any of them deliberately try to sound as ugly, distorted and
restless as possible? (Why do I think of Schnittke now?)

Peter Herweijer
pieterh@sci.kun.nl
From: ca_ac@gsbacd.uchicago.edu
Newsgroups: rec.music.classical
Subject: Re: Heifetz (was Re: I need recommendations of Bach's Vln Son..)
Date: 22 Jan 93 16:34:08 GMT

In article <1993Jan22.000329.1046@news.acns.nwu.edu>, ssc@nwu.edu (Steven Chung) writes:
> I'll venture out...  I know many people like it, but I can't stand
> Heifetz's recording of the Beethoven concerto.  He runs through it at
> lightning speed, as if playing the Tchaikovsky or somesuch.  I can hear his
> technical and structural grasp of the piece, but it lacks spirit, warmth.
> Not that I want romanticized Beethoven, but compare with one of Grumiaux's
> recordings...
The recording you are talking about here, I believe, is the Heifetz/Munch
version of the Beethoven concerto. I agree that because of the comparative lack
of serenity in the first movement this is a version that is not entirely
satisfying. I still enjoy it very much, though. However, you should try the 
earlier (1940?) recording of this concerto by Heifetz w/ Toscanini  and the NBC
symphony. Here even though the tempi are comparable to those in the later 
version somehow there is such magic in the performance that it works
completely (at least, for me).

> 
> Heifetz's Brahms is another matter.
> 
Without doubt, among the finest versions available in the catalog.
							Alak Chakravorty.
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Who does Tchaikovsky well?
Organization: Visual
Date: Wed, 27 Jan 93 13:03:08 GMT


Thomas Trebisky writes:

>> I submit the following for comment.
>>
>>Tchaikovsky Symphony #5 -- Bernstein, DG Dig.
>>Tchaikovsky Symphony #6 -- Bernstein, DG Dig.
>>Tchaikovsky Symphony #6 -- Dutoit, Montreal SO, London Dig.
>>

I can speak only about the Bernstein Sixth.  While it is definitely
a bleak and anguished performance, it lays it on so thick in spots
that certain purists are put off or even offended.  Bernstein chooses
some very slow tempos in spots, particularly in the final movement.
On the other hand, his third-movement march is conducted with
tremendous gusto and panache, and the first movement development is
played with unforgettable desperation and intensity.  This is a truly 
Great Performance, belonging in every collection, but I'm not sure
everyone would want it as the *only* CD of the work that they own.
As for me, I can't listen to other Sixths anymore.  They sound 
too tame.

Gavin Ramsey mentions the Jansons series on Chandos.  I agree
that it is very fine indeed, but, I think, it also tends to be a
bit overrated.  Jansons makes all the right moves, but that's part
of the problem.  I'm starting to get to where I like a performance
to have a better-characterized point of view on a work.  Maybe I've 
been listening to too much "late vintage Bernstein" for my own good....


Rob
From: jacob@max.cc.brandeis.edu ( )
Newsgroups: rec.music.classical
Subject: Re: tonal value of chords and harmonic series [?]
Date: 28 Jan 93 02:07:46 GMT
Organization: Brandeis University Math Department

In article <1993Jan27.154950.19645@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1993Jan27.075738.23548@news.cs.brandeis.edu> jacob@max.cc.brandeis.edu ( ) writes:
>>according to rameau's model the chord
>>C-E-G-A, i.e. a major triad with an added 6th should be a VI chord,
>>lying on A whereas everbody knows it is a tonic chord lying on C
>
>Depends on its function.  Even in first inversion, one can resolve that 
>to an F or Dm7 in accordance with its a-minor-triad quality.

true. this and more generally the "context" question came up in other
followups.

when i say that the major triad with added 6th, "is" a chord lying on
its bass i don't mean to say that it can only be used that way but that
in the absence of a context this is how it would be interpreted. another
way i could put it would be that you can very well end a piece (written
in the same key as its bass) with this chord w/o any need for any resolution
being felt.

i'm not sure it is always clear what the "tonal" value of a chord out
of any context should be. here's a (partial) rule of thumb that should works
at least for chords in which all the pitches are (can be heard as being --
of course enharmonics are equivalent out of context) in one
single diatonic collection:
if you can write a cadence going to that chord from some other degree
and it sounds like a credible V-I cadence (in that mode -- this should work
in all but Phrygian) then i'd say you've got a chord lying on the pitch
a perfect 5th lower than where you're coming from. (hopefully this should
only give one answer.) this method should in principle be able to tell you
about chords lying on everything but VII or III. anyway i don't really
mean this as an algorithm but as an illustration of what i mean "out of
context". maybe this should be called "intrinsic tonal value of a chord"

this is roughly what i mean when i say that C-E-G-A is a I chord.

>Note that all the centuries of harmonic-series-mucking-about hasn't 
>given us any rules at all about which chord follows which.

and good thing too. do you really mean which chord "should" follow which?

i've always thought the goal was not to say which chord should follow
which but once you've got a chord following another to try to explain what's
happening musically and why.

>Well, we won't be able to judge your ideas until we see them!

coming.
Newsgroups: rec.music.classical
From: judd@wilkinson.cs.colorado.edu (Stephen Judd)
Subject: Re: Classical Music for modern instrument (was Re: The shortest distance between two chords is...)
Organization: Universtiy of Coloardo, Boulder
Date: Fri, 22 Jan 1993 16:58:29 GMT

Upon further reflection a reasonable, I think, analogy comes to mind.  There
is currently a thread regarding recordings of Bach partitas an sonatas (the
best performer, incidentally, is, of course, Kay Newnam, obscure violinist
of the southwest).  The music is the same, but it is played differently by
all these different performers.  This is about how I feel about most pop
music - it's the same music, it just gets played differently.

					-Steve
--
judd@colorado.edu
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Brumel review
Date: 22 Jan 1993 00:30 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

>From: mccomt@aix.rpi.edu (Todd Michel McComb)

 (concerning the division of parts)

>This is what Peter Phillips says (3:1:5:3), and goes on to cite a huge range
>in the countertenor with no mention of 'high tenor' (and I can't say I
>appreciate this high/low distinction; what is it supposed to mean?).  I
>believe early music theory texts also give 3:1:5:3, but my memory is hazy now
>that you have contested the point -- I have not seen the score.

>Perhaps my ignorance is showing, but it seems that the Huelgas is reacting to
>the actual written ranges of the lines which were probably notated as tenor
>lines.......

 I can only quote from Paul van Nevel's notes, since I haven't seen
the score either (a second-hand battle of musicologists this). After
describing the division into 4 groups, Nevel says:
" Each of the voices within each group comprises the same vocal register;
their lines constantly cross each other, however."
 and later... "The high second tenor [i.e. the 3 voices comprising
tenor II in the sequence I-superius, II-countertenor, III-tenor, IV-bass,
INR ]  has the same register, for the most part,
as the third tenor and goes down to a low A. The high tenor parts are
called countertenors in the manuscript, but should not be confused with what
today is considered the characteristic countertenor voice. The Tenor III
part, in contrast, extends down to a low F and lies lower at that point
that all the bass lines..."

 so I think you're right, the argument is based on the written range of the
three parts (in which case I'd be tempted to call the tenor III a high
baritone part!). Nevel explicitly comments that "The vocal ranges are
pushed to extremes...", although he doesn't give both extrema for any one 
part. Presumeably the low range of tenor II precludes an alto voice in
Nevel's view. 

 I have no idea which of the two arguments is more valid, but for me Nevel's
approach works better in the actual performance

 Neill Reid - inr@eccles.caltech.edu

>T. M. McComb
From: christen@astro.ocis.temple.edu (Carl Christensen)
Newsgroups: rec.music.classical
Subject: Re: Boosey sues Disney
Date: 24 Jan 93 13:28:46 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]

I didn't think you could sue (public domain material) but I hope they
win millions.  Disney nowadays seems to have 100 lawyers and MBA's for
every artist, so I wouldn't mind seeing them lose.

So if an orchestra plays a public domain work, that orchestra owns
that performance?  I'd like to know the laws about that.  Or were the
arrangements of 'Fantasia' music not public domain.

--

Carl Christensen                      christen@astro.ocis.temple.edu
Department of Computer Science
Temple University
Philadelphia, PA  19122   USA         (215) 735-6787
From: d90eridy@odalix.ida.liu.se (Erik Dyrelius)
Newsgroups: rec.music.classical
Subject: Re: Music killed by movies
Date: 24 Jan 93 17:58:47 GMT
Organization: CIS Dept, Univ of Linkoping, Sweden

An English (id I remember correctly) TV-series about some sailors/shipowners
called Onedin or something used a theme from 'Spartac' and since then I
associate a piece about a slave revolt to ships in following wind. :)
--
+--------------------------------------------------------------------+
| dyrelius@robin.lysator.liu.se            (d90eridy@und.ida.liu.se) |
|                                                                    |
|   Listen to me just hear me out, if I could have your attention;   |
|            just quieten down for a voice in the crowd.             |
+--------------------------------------------------------------------+
Newsgroups: rec.music.classical
From: pieterh@sci.kun.nl (Peter Herweijer)
Subject: Re: >AoF on Harpsichord
Organization: University of Nijmegen, The Netherlands
Date: Thu, 21 Jan 1993 10:03:57 GMT

In <C16EG7.1E0@CAM.ORG> yedid@CAM.ORG (Gabriel Yedid) writes:

>     I have a recording of AoF on harpsichord (Davitt Moroney on Harmonia
>Mundi).  I find it is very interesting from an historical standpoint (and
>I appreciate the fact that it is complete; most ensemble recordings omit 
>the canons), but the pieces sound altogether deprived of the usual
>Bachian vivaciousness that are normally associated with the fugues.  A

Maybe Bach had different objectives in mind?

>livelier, as well as a much more sonorously interesting recording is
>available on CBS, done by the Canadian Brass.  From both timbre and
>performance standpoints, it is in every way superior to the harpsichord
>version (but it omits the canons).

*sigh* would you please insert 'IMHO' or something like that? If the
harpsichord version is not to *your* taste, OK.  If you don't care a
hoot _why_ Bach threw in a couple o' canons, fine with me.

>Unless one is so closed-minded as
>to consider the period performances to be the end-all/be-all, one will
>never know just how well the work adapts itself to ensemble playing, 
>despite what Gustav Leonhardt says.

I may be close-minded, but I have *never* said that, on the contrary,
I have defended the validity of the idea of arranging it.  I just
think that many arrangements show great concern with beauty of sound
(read: sonoric interest) and little thought of JSB's objectives
(Please note the use of 'many' instead of 'all').  However if you
think that the sole (valid) purpose of this music is your enjoyment
of the gorgeous sound it makes, by all means do so.

Leonhardt tried to prove that Bach composed the AoF for harpsichord.
Please do not distort this into 'Leonhardt said that arranging the AoF
for anything other than a harpsichord is sacrilege'.

This is not a criticism of the Canadian Brass arrangement.  I don't
know it.

Peter Herweijer
pieterh@sci.kun.nl