HDTenEightyP/NetNews huggingface dataset:
From: sasghm@theseus.unx.sas.com (Gary Merrill)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 15 Apr 92 13:42:24 GMT
    <1992Apr8.221929.21158@scubed.com> <1992Apr9.173358.29008@unx.sas.com> 
    <==vj8y=.vlad@netcom.com> <1992Apr14.185734.5453@vax.oxford.ac.uk>
Organization: SAS Institute Inc.
Originator: sasghm@theseus.unx.sas.com
X-Bytes: 2184

In article <1992Apr14.185734.5453@vax.oxford.ac.uk>, wilcox@vax.oxford.ac.uk writes:
|> 
|> NO NO NO NO NO. This is not the point at all. I am NOT, repeat NOT advocating
|> government control over what artists produce. I am advocating government
|> support so that artists, composers, singers, dancers, playwrights,
|> instrumentalists can continue the very important work they do in preserving the
|> cultural health of the nation. Let's face it, with the philistine governments
|> and short-sighted education policies in place in the US and the UK alike at the
|> moment, they need all the financial support they can get. GOVERNMENT SUPPORT IS
|> NOT THE SAME AS GOVERNMENT CONTROL, despite what the Republican/Conservative
|> propaganda machine churns out at the moment. 

Ah yes!  Support without control!  That's what we all want isn't it?
Nice job if you can get it.

Well, *someone* will control it.  It will be either academics or the
"arts community", or ...  Why not have it controlled by whoever
actually *signs the check* -- really, to suggest anything else is
naive.  If it is the government which is *taking* the money in the
first place, and then passing it on, then pretty clearly it *already*
exerts some control even at that point.  No amount of polyannna-like
wishful thinking will get around the fact that either elected officials
will be exerting control over funding or else appointed bureaucrats
will be doing so.  How any of this is better than (or even different
from) government control is beyond me.

Maybe I should get on this bandwagon.  If we can implement support
of "art" without "control", then I'll be the first in line to become
an "artist".  Recentlly I've become concerned that under normal
circumstances I will find it difficult to get funding for my planned
series of recordings of the Mozart horn concertos played on tuba.
I have been holding this against the Republican/Conservative propaganda
machine, but perhaps with a new approach there really is hope.
-- 
Gary H. Merrill  [Principal Systems Developer, C Compiler Development]
SAS Institute Inc. / SAS Campus Dr. / Cary, NC  27513 / (919) 677-8000
sasghm@unx.sas.com ... !mcnc!sas!sasghm
Newsgroups: rec.music.classical
From: aldrich@leland.Stanford.EDU (James Dunbar Aldrich-Moodie)
Subject: John Harbison
Organization: DSG, Stanford University, CA 94305, USA
Date: Thu, 9 Apr 92 22:37:03 GMT

I recently bought Dawn Upshaw's "Knoxville" recital disc (on Elektra), and
was quite taken with a song cycle which she sang by composer John Harbison
entitled "Mirabai Songs".

What's the consensus on John Harbison.  Not being much of an expert in living
composers, I hope someone who is can recommend something else to hear by 
him.  There certainly seems to be plenty available on CD.

Thanks,

James
___________________

James Aldrich-Moodie
aldrich@leland.stanford.edu

Newsgroups: rec.music.classical
From: pdelafos@djulien.dsd.es.com (Peter Delafosse)
Subject: Re: Memorable (?) cover art.
Reply-To: pdelafos@djulien.dsd.es.com (Peter Delafosse)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Wed, 15 Apr 92 14:43:17 GMT

Raymond Sunessen Tuttle writes:

> Is there anyone else out there who has weird and wonderful memories of
> LP covers?

I think the "finest" LP cover art was done for the covers of Decca/London 
operas in the 1960s. I have two favorites from this series. The first was 
the cover of "Salome" with a photograph of Birgit Nilsson. From the lighting 
of the photograph she appeared to have fangs. But my nomination for the
worst cover of all time was the recording of "Mefistofele" with a picture
of Ceserae Siepi wearing a giant diaper and the whole scene photographed
through a red filter.

Peter DeLafosse 
Xref: sparky rec.music.classical:5711 sci.lang:3859
From: johnnyb@ims.com (Johnny Battle)
Newsgroups: rec.music.classical,sci.lang
Subject: Re: Cor ANGLIAS or ANGL'E
Date: 8 Apr 92 17:23:35 GMT
Organization: Integrated Measurement Systems, Inc.

In article <1068@csinn.capsogeti.fr>, grossi@capsogeti.fr (Thomas Grossi) writes:
|> In article <SMAILL.92Apr4024354@lomond.aisb.ed.ac.uk>, smaill@aisb.ed.ac.uk (Alan Smaill) writes:
|> |> Well, it's a different  question, but I believe that ( and this is my
|> |> favourite etymology (assuming it's true)) the Basset Horn is named after
|> |> (pour les amerloques ca se dit "for") a German instrument maker called
|> |> Horn.
|> 
|> Well, I wouldn't dare speak for *all* Americans, but *this* "amerloque" would
|> indeed have said "named after..."  But surely you mean "a German instrument 
|> maker named Basset" and not "Horn"!

Surely the Basset Horn and the Basset Hound are named for (on the following
ground) the low notes they are capable of sounding, rather than after (by a 
name derived from) the appellation of Hr. Horn's son, Basset.
    

***************************************************************************
Johnny Battle                      Hysterical explosions of golden forsytia
From: hap@scubed.com (Hap Freiberg)
Newsgroups: rec.music.classical
Subject: Re: Classical trivia - was _The Love for Three Oranges_
Date: 16 Apr 92 19:06:15 GMT
Organization: S-CUBED, A Division of Maxwell Labs; San Diego CA

In article <1992Apr15.131347.1@camins.camosun.bc.ca> dbarker@camins.camosun.bc.ca writes:
>What's the connection between "Hogan's Heros" and one of Gustav Mahler's best know proteges?
>Deryk Barker

Way too easy....Werner Klemmperer ("Col. Klink") is/was the son of conductor
Otto.....

Hap
From: rwilmer@gateway (R. Wilmer)
Newsgroups: rec.music.classical
Subject: Re: "Street Scene", American Opera, Menotti, Weisgall
Date: 15 Apr 92 14:04:25 GMT
Article-I.D.: linus.1992Apr15.140425.23584
Organization: Mitre Corporation, McLean, VA

In article <18748@ravel.udel.edu> conrad@ravel.udel.edu (Jon Conrad) writes:
>In article <1992Apr13.002454.20704@galileo.cc.rochester.edu> ray@gawain.cif.rochester.edu (Raymond Sunessen Tuttle) writes:
>
>>I imagine that many music-lovers, asked to name a great American opera, would
>>name "Porgy and Bess." I would cast my vote for Kurt Weill's "Street Scene."
>
>Both worthy candidates.  Another, in some ways my first choice, is
>Virgil Thomson's "The Mother of Us All."
>

I think some good American operas are:

Carlisle Floyd:  Susannah
Douglas Moore:  The Ballad of Baby Doe
Ward (Robert?):  The Crucible
Giancarlo Menotti:  Amahl and the Night Visitors
Samuel Barber:  Vanessa

Do Menotti's operas count as American?  I think of him as a constant
traveller, not belonging to any one country (like Callas or Liszt).
His Saint of Bleecker Street was successful here in Washington last
year, and I have heard good things about the recent production of
Maria Golovin.

About a month ago, I saw Amelia Goes to the Ball, which I thought
was close to Menotti at his best.  Otherwise I have been to or heard or
sung or taught about 10 of his operas:  the one I most enjoyed was Help! Help!
the Globolinks!, but I don't know how it would stand up to
repeated hearings.  The Consul, The Telephone, and the Medium
continue to be performed.  Although I sometimes get tired of
certain parts, I think Amahl is the best, and I always
enjoy the ``Have you seen a child'' quartet.

I am interested in getting to know American 
opera better.  Right now I am working on Hugo
Weisgall's Purgatory:  difficult music set to
a difficult text by Yeats.  Has anyone heard any
of his operas?  I also would like to hear
Wuthering Heights, which I think has two
versions.

Richard
Newsgroups: rec.music.classical
From: cs132052@cs.brown.edu (Michael Wong)
Subject: Bach CD recommendations
Organization: Brown Computer Science Dept.
Date: Mon, 13 Apr 1992 00:37:05 GMT

I am going over to Tower Records this coming weekend, I would appreciate it if
someone can give me recommendations on the following pieces:-

1) Coffee Cantata
2) Lute Suites
3) Magnificat
4) Easter Oratorio(sp?)
5) Keyboard Concertos - on piano! (I hate harpsicords...)

Thanks in advance...

						Chainsaw
Newsgroups: rec.music.classical
Subject: Re: Good Perf Major Schools?????
From: phoogenboom@eagle.wesleyan.edu
Date: 12 Apr 92 00:52:55 EDT
Organization: Wesleyan University

In article <17710@oasys.dt.navy.mil>, lung@oasys.dt.navy.mil (Terence Lung) writes:
> In article <1992Apr2.220533.2572@vax1.umkc.edu> jbarron@vax1.umkc.edu writes:
>>Hello, I am fed up with the conservatory that I am going to...
>>I am interested in strings....cello,  to be specific
>>Thank you, Thank you 
>>Jennifer
> 
> Jeff Sutherland writes:
> Have you written to Oberlin College in Oberlin, Ohio?  Sounds like they have
> what you are looking for, although they are private and the tuition is
> pretty steep.
> 
> I respond:
> Have you heard of Yale's school of music in New Haven, CT?  I bet their
> tuition is also pretty steep.  I believe Padorski (sp???) teaches there.
> Bion Tsang, bronze medal winner of the 1990 Tschaikowsky Int'l cello
> competition goes there and I think Chien-an Chen of the Los Angeles
> Ballet Orchestra studied there some years back.  Oh yeah, I think
> Jian Wang is there too.  This cellist was recommended by Rostropovich
> to perform at Wolf Trap this summer with the NSO.  I was privileged to
> perform with Jian last Thursday night at the Kennedy Center.  He does
> a mean variation of Sarasate's Nel Cor Mi Non Sento vfor violin on his
> cello.
> 
> 
> Good luck!
> 
> /*  Jeff  */


Yale does not offer undergraduate performance majors.


Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: Transcriptions of famous pieces for guitar
Organization: Camosun College
Distribution: na
Date: Tue, 14 Apr 1992 19:17:02 GMT

In article <1992Apr14.021329.12440@cs.rochester.edu>, steyn@cs.rochester.edu (Gavin Steyn) writes:
> In article <1992Apr13.113014.1@camins.camosun.bc.ca> dbarker@camins.camosun.bc.ca writes:
>>I also recently heard a transcription of the first movement of Beethoven's
>>Fifth on the guitar, mercifully I cannot remember the culprit. It seemed
>>to me like a perfect example of how to trivialise a masterpiece. I had
>>a similar reaction to a two-guitar version of Bach's Goldberg Variations.
>>Both recordings reminded me of why I gave up playing classical guitar
>>over 20 years (sigh!) ago.
> 
> I imagine I would have a similar reaction to the Beethoven, but I must
> admit that I see no innate reason why transcribing the "Goldberg Variations"
> trivializes them, unless lots of notes were left out and/or the guitarists
> played badly.  Most of the Bach transcriptions I've heard work very well.
> (It's not as if they were originally written for piano either :-) ).

You are right. I can think of a number of Bach transcriptions I have
enjoyed in the guitar. maybe these two were particularly bad.

>   I'm also not sure why this sort of thing would lead to dropping the guitar--
> a lot of music transcribes pretty well.  Just for example, parts of Carmen,
> or of De Falla's work sound really nice when played on guitar.  Now, the
> "New World" symphony is pushing it, but you can just ignore that sort of
> thing...  And, of course, you can confine yourself to works originally written
> for the instrument.

Well, I think I was badly in need of some profundity, and there is, IMHO,
very very little profound music for guitar, whether original or transcribed.

-- 
Deryk Barker
Computer Science Dept.
Camosun College,
Victoria, BC
Canada
From: rwilmer@gateway (R. Wilmer)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Keywords: My knee is jerking wildly.  Lay off with that rubber hammer!
Date: 9 Apr 92 15:19:58 GMT
Article-I.D.: linus.1992Apr9.151958.28677
Organization: Mitre Corporation, McLean, VA

In article <VANCE.92Apr8170435@kyoto.speech.sri.com> vance@speech.sri.com (Vance Maverick) writes:
 >In article <1992Apr8.221929.21158@scubed.com> hap@scubed.com (Hap Freiberg) writes:
 >
 >   The basic problem, of course, is that the U.S. has no national
 >   culture.
 >
 >Why would we *want* a national culture?  We're talking about a country
 >of 250 million people, spread over thousands of miles, of wildly
 >varying ethnic, cultural, and even linguistic background.
 >
 >   Culture has always been the province of either the wealthy or the weird.
 

I would say that the American Broadway Theater is an important
part of our national culture and, for this music newsgroup
I think particularly of the great musicals written by
George Gershwin, Jerome Kern, Richard Rodgers, Cole Porter,
Leonard Bernstein, Burt Bacharach, Stephen Sondheim, and others.

Although my comment may be irrelevant to the subject line, I
believe that American musicals are an important cultural
contribution that should not be overlooked.

Richard
Richard
Newsgroups: rec.music.classical
From: vlad@netcom.com (Vladimir Kuznetsov)
Subject: Re: government and the arts
Date: Sat, 11 Apr 92 19:43:49 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

In article <1992Apr9.173358.29008@unx.sas.com> sasghm@theseus.unx.sas.com (Gary Merrill) writes:
>In article <1992Apr8.221929.21158@scubed.com>, hap@scubed.com (Hap Freiberg) writes:
>|> In article <1992Apr7.113956.5324@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
>|> >Let government do its duty and support the nation's culture! Without it,
>|> >the arts will remain the preserve of the middle classes and the well-off.

Just look what governament support did to the art in Nazy Germany and
in ex-USSR. In both cases it was a complete devastation and riuning
of he culture and cultivating if pseudo-art.

After all what is wrong with "preserve of the middle classes and the
well-off"? The real art cannot be really mass and/or/ popular.

vlad


-- 
Vladimir Kuznetsov                         (408)252-5455
Natural Intelligence Consulting            vlad@netcom.COM
                                           73437,3344@compuserve.com
Newsgroups: rec.music.classical
From: hyx1@cunixb.cc.columbia.edu (Harry Y Xu)
Newsgroups: rec.music.classical,comp.music
Subject: Re: Disappointed (Was Re: Help, which instrument?)
Date: 16 Apr 92 04:10:29 GMT
Organization: Columbia University

anielh@sequent.com writes:
>
>I've followed this group for several months, and time and again have
>seen relatively uninformed or naive requests treated with ridicule and
>lack of seriousness.  The recent request "Help, which instrument?" is
>only one example.

	I posted "Help, Which instrument?" yesterday.  I've received
many responses, all of which are very helpfel and informative, by e-mail 
and on the net.  I'm very impressed by the goodheartedness (?) of u 
musicians.  I've browsed through nearly 1/4 of all the newsgroups and
now convinced that comp.music, rec.music.classical, rec.running, and the 
.radio.amateur groups to be the most friendly, helpful, and informative.
	I'm delighted to realize this now, since I'm now also convinced 
that the people who share my beloved hobbies (run & ham) are of the most
"civilized", goodhearted, and intelligent groups.
	I personally regard the teasings alongside informative advises as
humorous.  I enjoy making fun of people and being made fun of.  U can't be
too serious all the time, you know.
	Anyway, these are just my personal opinions regarding my post 
(request) and the responses.  No opinion on the rest of the article.
	....hmmmm, maybe playing music will make me feel as good as making
love, too.  Should I change my .sig?  Ng, hmm, I'll try it first.
--Just some wild thoughts to share.
====================================>.sig <===================================
  Harry Xu  (KB2LHA)	   Internet:  hyx1@cunixb.cc.columbia.edu
 *Columbia University Amateur Radio Club (CUARC-<>-W2AEE)  *Founded, 1913*
 *The American Radio Relay League:  Amateur Radio >>---> A National Resource
 *New York Road Runners Club  -&-  Columbia University Road Runners Club 
 ::::::"Go run.  Nothing else can make you feel as good as making love."  --ME
====================================> end <===================================
From: hap@scubed.com (Hap Freiberg)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 8 Apr 92 22:19:29 GMT
Article-I.D.: scubed.1992Apr8.221929.21158
Organization: S-CUBED, A Division of Maxwell Labs; San Diego CA

In article <1992Apr7.113956.5324@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
>Let government do its duty and support the nation's culture! Without it,
>the arts will remain the preserve of the middle classes and the well-off.
>Stephen Wilcox

Nicely stated and, I think, some ideas for us Americans to ponder....
The basic problem, of course, is that the U.S. has no national
culture.  Culture has always been the province of either the wealthy
or the weird.  The denizens of the political right have always been
suspicious of culture (because so much of it is foreign? Or that the
"cultured" tend to be a bit "different"?) and under the banner of "let
the market decide" have managed to quash any hints of a national subsidy.
As to the idea that the arts will remain the preserve of the middle classes
and the well-off, I think you're being optimistic, but that's a topic for
another .newsgroup.....

Hap
Newsgroups: rec.music.classical
From: lung@oasys.dt.navy.mil (Terence Lung)
Newsgroups: rec.music.classical
Subject: Re: Good Perf Major Schools?????
Date: 7 Apr 92 12:56:44 GMT
Reply-To: lung@oasys.dt.navy.mil (Terence Lung)
Organization: Carderock Division, NSWC, Bethesda, MD

In article <1992Apr2.220533.2572@vax1.umkc.edu> jbarron@vax1.umkc.edu writes:
>Hello, I am fed up with the conservatory that I am going to...
>I am interested in strings....cello,  to be specific
>Thank you, Thank you 
>Jennifer

Jeff Sutherland writes:
Have you written to Oberlin College in Oberlin, Ohio?  Sounds like they have
what you are looking for, although they are private and the tuition is
pretty steep.

I respond:
Have you heard of Yale's school of music in New Haven, CT?  I bet their
tuition is also pretty steep.  I believe Padorski (sp???) teaches there.
Bion Tsang, bronze medal winner of the 1990 Tschaikowsky Int'l cello
competition goes there and I think Chien-an Chen of the Los Angeles
Ballet Orchestra studied there some years back.  Oh yeah, I think
Jian Wang is there too.  This cellist was recommended by Rostropovich
to perform at Wolf Trap this summer with the NSO.  I was privileged to
perform with Jian last Thursday night at the Kennedy Center.  He does
a mean variation of Sarasate's Nel Cor Mi Non Sento vfor violin on his
cello.


Good luck!

/*  Jeff  */
From: martin@cs.uchicago.edu
Newsgroups: rec.music.classical
Subject: Met Broadcast of Billy Budd
Date: 6 Apr 92 14:50:32 GMT
Organization: The University of Chicago

Are the Texaco "Live from the Met" broadcasts available?  Failing that, did
anyone in the Chicago area tape Saturday's (4/4/92) performance of Billy Budd? 
(And wouldn't mind me taking their tapes to make a copy?)

Thanks!

Charles Martin // martin@cs.uchicago.edu
From: dbarker@camins.camosun.bc.ca
Subject: Re: Sibelius Violin Concerto
Organization: Camosun College
Date: Sat, 11 Apr 1992 01:41:52 GMT

In article <996@xlnt.COM>, david@xlnt.com (David Johnson) writes:
> In article <1992Apr7.020718.15812%mr804321@cs.nthu.edu.tw>, mr804321@cs.nthu.edu.tw (mr80) writes:
> |> 
> |>   I like Sibelius violin concerto and I wonder why
> |> Tchaikovsky violin is one of the 4 greatest violin concertos.
> |> I use Sibelus violin concerto to replace it.
> |>                                         Wen.
> 
> Pardon my ignorance, what are the other three greatest violin concerti?
> I can think of what would be considered the four most *popular* violin
> concerti but I think it is difficult to say which are the four greatest.

I agree, but I'll stick my neck out anyway. IN my opinion they are,
chronologicall, Beethoven, Brahms, Sibelius and Elgar.

-- 
Deryk Barker
Computer Science Dept.
Camosun College,
Victoria, BC
Canada
From: martel@marvin.mr.sintef.no (Paulo Martel)
Newsgroups: rec.music.classical
Subject: Re: Music from Excalibur
Date: 9 Apr 92 14:13:03 GMT
Organization: University of Trondheim, Norway

kpm8447@tesla.njit.edu writes:

>Does anyone have the Excalibur soundtrack or know which songs are on it?
>I've been trying to find it for some time and just recently found out
>that it's only available on cassette and is not in production anymore.
>I did manage to find two of the pieces from Excalibur on other albums.

>1) Carmina Burana: Introduction
>   (When the army goes into battle..I think)
>   (This is on The Doors soundtrack and is from Orf's opera)

>2) Siegfried's Funeral Music and Final Scene (from Gotterdammerung)
>   (At the end of Excalibur when the boat crosses the lake)
>     (This is on Wagner Without Words)

>My question is what are the other pieces on the album and who composed
>them.  Since it's hard to track down the original cassette at least I could
>compile the songs myself off of other compact discs to create the album.
>I originally thought all of the music was composed just for Excalibur
>but found out otherwise. 

> - Thanks in advance
> - Kirk

Parsifal's Prelude to Act I (quest for the Holy Grail)

Paulo

--
Paulo Martel             |  e-mail: martel@marvin.mr.sintef.no |               
MR-Center                |  phone: +47-7-997700                |               
SINTEF		         |  FAX:   +47-7-997708                |               
N-7034 Trondheim, NORWAY |                                     |               
Newsgroups: rec.music.classical,comp.music
From: ridgway@athena.mit.edu (Lee Ridgway)
Newsgroups: rec.music.classical
Subject: Re: What in tarnation is "Vivace" in 3/2 time?
Date: 17 Apr 92 19:51:58 GMT
Organization: Massachusetts Institute of Technology

In article <1992Apr15.204958.1683@linus.mitre.org>, rwilmer@gateway (R. Wilmer) writes:
|> In article <lacesso.703358669@slave-lake> lacesso@cs.UAlberta.CA (Winslowe Lacesso) writes:
|> >92-04-15 (mercoledi)
|> >
|>  >...marked "Vivace" but in 3/2 time. Lots of half notes, so I was willing to go
|>  
|> 
|> The easy question is why it is not in 6/8:  because it would then
|> have two beats instead of three.
Uh, maybe the composer intended there to be 3 beats in the measure and not 2. The
accents are not equivalent in 3/4 (which is what you probably meant) and 6/8. You
would have to check the note groupings to be sure, but it sounds rather
straightforward in this instance.
Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: John Harbison
Date: Fri, 10 Apr 92 17:36:00 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <1992Apr9.223703.25947@leland.Stanford.EDU> aldrich@leland.Stanford.EDU (James Dunbar Aldrich-Moodie) writes:
>I recently bought Dawn Upshaw's "Knoxville" recital disc (on Elektra), and
>was quite taken with a song cycle which she sang by composer John Harbison
>entitled "Mirabai Songs".
>
>What's the consensus on John Harbison.  Not being much of an expert in living
>composers, I hope someone who is can recommend something else to hear by 
>him.  There certainly seems to be plenty available on CD.
>
I like Harbison's music a lot.  We had him as our composer-in-residence back
when Previn was still the Music Director here.  He did a piece for us--
actually it was a section of a larger work in progress--called *Ulysees Bow*.
We recorded it--I think for Nonesuch but I really can't remember.
His woodwind quintet is a dynamite piece and he wrote a little sort of oboe
serenade with strings called Snow Country.
Harold
hsmoliar@db1.speech.cs.cmu.edu
Newsgroups: rec.music.classical