HDTenEightyP/NetNews huggingface dataset:
From: abrocke1 (Aaron Brockett)
Subject: Re: piano and flute
Organization: Swarthmore College
Date: Wed, 18 Nov 1992 18:06:04 GMT

In article <UGX8XOT@gwdu03.gwdg.de>, kschorn@gwdgv1.gwdg.de writes:
> 
> I play piano at medium level, my wife plays flute very well. We already 
> learned a lot of duets for piano and flute from Bach and Haendel. We 
> want to learn compositions from other composers as mentioned above.
> Who can suggest to me nice pieces for piano and flute, which are not too
> difficult to play ?
> 
> Karl Schorn
> 
> kschorn@gwdgv1.decnet.gwdg.de


I don't know if a score for this exists (it probably doesn't), but this
sounds exactly like what you're looking for. I have a CD of James Galway
and Phillip Moll playing an arrangement of Dvorak's Sonatina for violin and
piano. He wrote it for his young children, so the parts aren't particularly
difficult, but they're far from trivial. It;s a thoroughly enjoyable piece
and works quite well for flute. However, it's probably not published in
score form :(
You can at least inquire at a good sheet music store.

--Aaron
Brockett
From: al@sys6626.bison.mb.ca (haus der luge)
Newsgroups: rec.music.classical
Subject: Wagner - What Can We Say ?
Date: Thu, 19 Nov 92 10:14:45 CST
Organization: System 6626 BBS, Winnipeg Manitoba Canada

 
"Of all the [bete], clumsy, blundering, boggling, baboon-blooded stuff I 
ever saw on a human stage, that thing last night beat - as far as the 
story and the acting went - and of all the affected, sapless, soulless, 
beginningless, endless, topless, bottomless, topsiturviest, tuneless, 
scrannelpipiest - tongs and boniest - doggrel of sounds I ever endured 
the deadliness of, that eternity of nothing was the deadliest, as far as 
the sounds went.  I never was so relieved, so far as I can remember, in 
my life, by the stopping of any sound - not excepting railroad whistles - 
as I was by the cessation of the cobbler's bellowing."
-JOHN RUSKIN ON WAGNER'S [DIE MEISTERSINGER]
 
"Wagner's music is better than it sounds."
-MARK TWAIN
 
"Wagner has beautiful moments but awful quarter hours."
-ROSSINI
 
"Wagner is evidently mad."
-BERLIOZ
 
"Is Wagner a human being at all?  Is he not rather a disease?"
-NIETZSCHE
 
"In the last decade of his life, Wagner and his wife moved into a house 
he named [Wahnfried], which is German for 'peace from madness'. Even HE 
needed a place to get away from his own operas."
-DAVID BARBER
 

Not necessarily in total agreement,
HausDerLuge

Newsgroups: rec.music.classical
From: tait@cs.columbia.edu (Carl Tait)
Subject: Re: Slaughterhouse Five, the Tralfamadorean theme
Organization: Columbia University Department of Computer Science
Distribution: na
Date: Thu, 19 Nov 1992 09:50:47 GMT

In <1992Nov14.190549.15613@hubcap.clemson.edu>
epohl@hubcap.clemson.edu (Erik Alan Pohl) writes:
>
>   While watching a movie version of Slaughterhouse Five (BTW
>IMHO a very good film) I heard a very interesting piano piece
>which had violin (it sounded) in the background and sounded
>vaguely familiar-  now it burns in my soul.

Not sure if this is what you're referring to, but one of the main
pieces used in that movie was the slow movement from Bach's Clavier
Concerto No. 5, BWV 1056.  It is scored for keyboard and pizzicato
strings.  The soundtrack was played by Glenn Gould.

Carl Tait
Newsgroups: rec.music.classical
From: carnes@quip.eecs.umich.edu (Richard Carnes)
Subject: Re: Considering 4'33''
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Wed, 18 Nov 1992 17:20:20 GMT

>I think John Cage was a poser.  

More exactly, he was a philosopher-cum-poser.

>Go ahead, flame me, but you'll never
>convince me that he had any real talent.

You                                       you
   can                                 can
      cage                          Cage 
         a                       a
            swallow           swallow
               can't       can't
                  you   you
                     but 

(I don't remember who composed this sentence, but it wasn't me.)

Richard Carnes
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Bernard Shaw quotes
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Mon, 16 Nov 1992 20:39:34 GMT

In article <1992Nov16.200011.3083@visual.com> rwh@visual.com (Rob Holzel) writes:
>Robert Parsons writes:

>>> From my own memory:
>>> Chopin had little regard for Beethoven's and Schumann's piano music.

>Roger Lustig writes:

>>Chopin *did* like the Moonlight Sonata.  To see exactly how much,
>>read Ernst Oster's analysis of the Fantaisie-Impromptu.

>Well, I can say this much to vouch for that: in the last movement of
>the Moonlight, in the coda, that descending figure after the long 
>chromatic scale in the right hand feels *incredibly* like something
>right out of the Fantasie-Impromptu.  (Although, of course, the "borrow"
>would have happened the other way around.)

More to the point: they're note-for-note the same for two measures or
so.  This is Oster's final piece of evidence, after a long analysis.

Obvious points he makes earlier (you'll have to get the article for the
more subtle ones): key-scheme of c#-Db-c#; motivic use of ascending
g#-c#-e-d# (yes, the last note descends); etc.

Roger
Newsgroups: rec.music.classical
Subject: Re: Clarinet construction
From: comjohn@ccu1.aukuni.ac.nz (Mr. John T Jensen)
Date: Tue, 17 Nov 1992 22:24:44 GMT
Organization: University of Auckland, New Zealand.

roger@crux.Princeton.EDU (Roger Lustig) writes:

>Clarinets are made of Grenadilla wood, not ebony, pace Stravinsky and
>Woody Herman.

According to Jack Brymer's book on the clarinet, grenadilla is a kind of
ebony.

jj

John Thayer Jensen                      64 9 373 7599 ext. 7543
Commerce Computer Services              64 9 373 7437 (FAX)
Auckland University                     jt.jensen@aukuni.ac.nz
Private Bag 92019
AUCKLAND
New Zealand
Newsgroups: rec.music.classical
From: k22164@kyyppari.hkkk.fi (Mikko Reinikainen)
Subject: Re: English Madrigals
Date: 23 Nov 92 12:08:23 GMT
Organization: Helsinki School of Economics, Finland

In <9HFkuB5w165w@student.business.uwo.ca> r4smith@student.business.uwo.ca (Richard Smith) writes:

>Recordings of English madrigals done by the Kings Singers (before they 
>went pop) are pretty hard to beat

I agree what you said about the King's Singers unbeatability and
overall superiority in vocals, but I didn't quite catch your idea of
the words "before they went pop"...

The King's Singers have done all
kinds of music from renessaince to pops from the very beginning - e.g.
theirdebut recording that has just been re-released on CD by Chandos
includes exclusively pop and folk.

And what comes to their popularity, I think they have been VEY popular
form the early 1970's...

	Mikko Reinikainen
	Finland

--
Mikko Reinikainen
k22164@kyyppari.hkkk.fi
Helsinki School Of Economics and Business Administration
Helsinki University/Faculty Of Law
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: re: notation of accidentals [?]
Organization: University of Western Ontario
Date: Thu, 19 Nov 1992 04:46:55 GMT

Got no evidence at hand but I expect that the shapes came from ligatures 
and the practice arose from the abandonment of solmization way back in 
the Renaissance. Anybody got Grove next to their computer? 

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Re: Brahms
Date: Tue, 17 Nov 1992 05:44:13 GMT
Organization: Colorado State University, Fort Collins, CO  80523

In article <1992Nov16.235049.23025@newsgate.sps.mot.com> dwong@chopsuey.pico writes:
>In article 62493@yuma.ACNS.ColoState.EDU, hurben@lamar.ColoState.EDU (Mike Hurben) writes:

[lots of stuff deleted]

>>Then I met Mr. Mahler and Mr. Wagner and all hell broke loose.  I have not been
>>the same since.  A few months ago I went back and listened to most of my Brahms,
>>and I did enjoy it...but it did not induce the huge emotional catharsis that I
>>am now a glutton for.  But there is much that I have not heard...such as all
>>of the violin concerto, or the German Requiem.  Also, the little chamber music
>>that I have heard I liked, so I would like to hear some more.
>>
>>This is not to insult the Brahms faithful out there.  I would like nothing more
>>than to have some music of his grab me by the throat and make me beg...
>>
>>Any recommendations?
>
>Ror sophisticated Mahler listener like you.  How about the German Requiem and also
>the violin concerto?  BTW, have you played or sit thru the complete production of
>Wagner's RING before?  I think you may change your mind about Brahms once you have
>done that.
>
>d. wong
>
What do you mean?  Do you mean all at once?  Or spread out over 4 evenings?
If the latter is the case, then yes - I have watched it on video over 4 days,
on MANY occasions, and I have listened to it, in the same manner, at least
a DOZEN times.  Many of these times included reading the score also, which I
own.  And the more I get of this incredible living, breathing, all-encompassing
creation called the Ring, the more fanatical I become.  So if this changes my
mind about Brahms, it may be in a way that you wouldn't like...

Mike
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: Re: Tuba
Date: 17 Nov 1992 14:38 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

In article <Bxv3uC.JBv@dcs.ed.ac.uk>, la@dcs.ed.ac.uk (Lewis Alderton) writes...
>Some wierdo composer wrote a Tuba concerto. Anybody know
>who he was and what he called it.
>(Anyone says "tubby the tuba" and I scream OK)
>-- 

 Don't know about `wierdo' composers - but Vaughan Williams certainly
wrote a tuba concerto. There's at least one recording - as part of
the Bryden Thomson RVW symphony series, I forget the coupling - and
Previn may have recorded a performance some years ago with the LSO.
(I remember them performing it as one of the Previn Musicnights on BBC)

 Neill Reid  - inr@eccles.caltech.edu
Newsgroups: rec.music.classical
From: ssc@nwu.edu (Steven Chung)
Subject: Re: Brahms violin concerto (summary)
Originator: schung@casbah.acns.nwu.edu
Organization: Northwestern University, Evanston Illinois.
Date: Thu, 19 Nov 1992 01:37:10 GMT

In article <1992Nov18.161245.11594@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
# Which brings a question: is there any DDD version (aside from the 
# spurious Neveu recording) that measures up to these giants? This is
# for those of us who came to age in the CD age, and haven't the fervor
# to sift through the noise of a re-mastered 78 for that divine sound.

Well, I saw today that Perlman has a new recording out.  Since noone's
trashed it yet, I guess that might be the one.

Seriously, any reports on Perlman/Barenboim?

Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Clarinet construction
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 17 Nov 1992 18:31:10 GMT

In article <1992Nov17.161018.18555@tc.fluke.COM> strong@tc.fluke.COM (Norm Strong) writes:
>All the good clarinets I have seen were made of ebony, a wood in
>increasingly short supply.  Within the next 2 decades there will no
>longer be enough ebony for musical instrument construction.  

Clarinets are made of Grenadilla wood, not ebony, pace Stravinsky and
Woody Herman.

>What research is being done to develop a suitable synthetic replacement?
>There are many engineering plastics that should be at least as good as
>ebony, but I'll bet no clarinet manufacturer is looking at them.  

Well, what's the international grenadilla situation?  (I honestly don't 
know.)  I know that Heckel has several decades worth of bassoon wood
stocked away to age; don't know what the clarinet people are doing.  

Roger



Newsgroups: rec.music.classical
From: as432@cleveland.Freenet.Edu (Scott Dettra)
Newsgroups: rec.music.classical
Subject: Re: Tallis Scholars concert in Birmingham, AL ?
Date: 19 Nov 92 00:08:39 GMT
Reply-To: as432@cleveland.Freenet.Edu (Scott Dettra)
Organization: Case Western Reserve University, Cleveland, OH (USA)
NNTP-Posting-Host: hela.ins.cwru.edu





They will perform at the Alabama Theater for the Performing Arts on 12-8
at 8:00pm.  Sorry, no phone #.

-Scott




In a previous article, norton@cco.caltech.edu (Olin Perry Norton) says:

>My December 1992 issue of "The Atlantic" (Vol. 270, No. 6)
>contains an advertising insert titled "Arts and Entertainment Preview",
>which contains some short blurbs on music, film, dance, etc.
>in addition to automobile ads from Chrysler.
>
>The pages in this section are not numbered, but on what would
>be page 43 there is a short article titled "Sounds of the
>Renaissance Revisited" which is about the Tallis Scholars.
>
>This article says: " Their current tour includes dates in
>Stanford, Seattle, Birmingham, Nashville, New York, Boston,
>and Toronto. "
>
>I am assuming that this is Birmingham, Alabama.
>
>The next question is: " When and where is this concert,
>and where do I get tickets ? "
>(Well, maybe that's two or three questions.)
>
>I would love to see the Tallis Scholars in concert,
>so I would greatly appreciate any help that anyone
>could give me.
>
>If I just knew where the concert was (some civic
>auditorium? at one of the area colleges?)
>then I could call information and get the box office number.
>
>Thanks in advance,
>
>-Perry Norton
>
>
>
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Considering 4'33''
Date: 23 Nov 92 20:31:43 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1epotoINNr4r@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>Stephen Smoliar (smoliar@whitehead.iss.nus.sg) wrote:
>
>: Don't let what you read distort what you hear!
>
>Surely unless you read the glosses to Mr Cage's works, and listen to the
>works, you will know what is going on. If you don't, and are presented
>with an enigma, the reading the glosses will clear things up. If the
>ambiguity is the desired result, when then, let's burn Cage's writings.
> 
>[HEY haus der luge THIS IS A JOKE.]

Joke or not, if Cage had thought the glosses "cleared things up"
and made them to "pat" he probably would have struck the match
himself.   (He would have been happy if what they did was "clear
the air," however.)
  The copy of "Bolivia Mix" he once sent me as a gift had no
glosses or instructions of any kind, although it did have a quote
on the cover that spoke of the similarity of a certain part of
Manhatten to Bolivia re the respective populations' interest
in new music.


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
From: ian.murray@synapse.org (Ian Murray)
Newsgroups: rec.music.classical
Subject: Re: Tuba
Date: 18 Nov 92 20:33:00 GMT
Article-I.D.: synapse.1950.3163.uupcb
Reply-To: ian.murray@synapse.org (Ian Murray)
Distribution: world
Organization: SYNAPSE BBS - GATINEAU, QUEBEC - 819-561-4321

On 11-17-92, John R. Dooley wrote to All regarding Re: Tuba

 
JR> So, is such stuff done in other parts of the world??
JR>

I was involved in the filming of the Sax event of the century, in Toronto.
I can't remember who organized and coordinated the event but it involved 
close to 500 sax players.  All had responded to an ad and had varying 
skill levels on their instruments.  Each person was assigned a specific 
location to perform in and given the music for their part in the piece 
to be performed.

Filming started with 10 crews at about 5:30 a.m. and ended around 7:00 
a.m.(during that time the piece was performed several times).  It 
certainly sounded eerie when they started...I don't think there was a spot 
in the downtown core of Toronto where you couldn't hear the performance.

I never did hear anything more about it and have often wondered whether 
the film ever did get finished.  If anyone out there recalls the event 
(1970 or 71) I'd be interested in hearing their recollections.


 << Ian  >>

---
 . WinQwk 2.0 #0 . Unregistered Evaluation Copy
                                                                                
Newsgroups: rec.music.classical
From: mlaird@Rapnet.Sanders.Lockheed.Com (Michael D. Laird)
Subject: Messiah recommendations? (probably seasonal FAQ)
Summary: Which recordings do you like best and why?
Keywords: Messiah, Handel, Christmas
Organization: Lockheed Sanders, Inc.
Date: Fri, 20 Nov 92 18:12:14 GMT

I'd like to get a CD set of the complete Messiah by Handel, but before I
do, I'd like to solicit some recommendations from the net.  

I've heard several performances that range from the 1000 voice choir and
significantly beefed-up orchestra style, to more historically accurate
performances with period instruments.  Since I don't want to start any 
arguments over which is "better", I'd like to get some recommendations
that fall into both categories.  While I prefer DDD recordings over
older analog ones, the performance itself is most important (assuming
that it isn't drowned out by tape hiss or something :-) ).

Since this is probably a seasonal FAQ, I'll be glad to keep a list of
the recommendations and send them to anyone who may ask this again.

Thanks in advance,

Michael Laird
-- 
----------------------------------------------------------------------------
Michael Laird				V rcbu hbl qrlbwar tavehtvs ghb fvug
Lockheed Sanders, Inc.			rtnffrz, rfhnpro rug rtnffrz syrfgv
mlaird@rapnet.sanders.lockheed.com	fv lyynhgpn erugne tavebo! :-)
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Brahms Violin Concerto
Organization: Camosun College, Victoria B.C, Canada
Date: Wed, 18 Nov 1992 23:41:34 GMT

In article <1992Nov15.153350.9061@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>Can anyone out there recommend a really passionate performance of the Brahms
>Violin Concerto.  I've already heard Stern/Ormandy on CBS and Perlman/Giulini
>on Angel, plus a few by relatively obscure East European orchestra whose names
>escape me now.  They are all lacking for some reason or other.  I've also heard
>a live TV version by Nadja Salerno Sonnenberg, and am tempted to get her
>studio recording, but I've found she's not as exciting in the studio.
>
>Also, a friend whose musical opinion I respect says Anna-Sophie Mutter's with
>von Karajan on DG is disappointing as well.  I thought that would be 
>definitive.

I am resisting to make the obvious remarks about someone who thought
the karjan would be "definitive". For passion and fire try the 1947
Genette Neveu recording on EMI References, coupled with a wonderful
Sibelius concerto.


Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: zornow@hpcc01.corp.hp.com (Claudia Zornow)
Date: Mon, 23 Nov 1992 18:53:36 GMT
Subject: Re: Music to sharp me up (Was: Re: Music to calm down by)
Organization: HP SSD R & D
Newsgroups: rec.music.classical

Merging this thread and a recent one...

The most relaxing recording I have at the moment is
called "Tuba Tracks," with tubist Gene Pokorny.  It
includes:

    Handel, Sonata in G Major
    Bach, Partita in A [orig. for flute]
    Debussy, General Levine-Eccentric
    Rachmaninoff, Three Songs
        Oh Never Sing To Me Again
        Harvest of Sorrow
        The Pied Piper
    Casterede, Serenade from Sonatine for Bass Saxhorn
    Ravel, Pavane for a Dead Princess
    Debussy, Prelude to the Afternoon of a Faun
    Vaughn Williams, Six English Folk Songs
    Theme and Variations on Blue Bells of Scotland
    ?, Memories of You

When you laugh at this (and you will)...just keep an
open mind.  The low frequencies are very soothing
(unlike, say, violin or harpsichord -- don't listen
to those unless you /enjoy/ being irritated :-)).

Claudia
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: notation of accidentals [?]
Date: 20 Nov 92 23:59:21 GMT
Article-I.D.: husc3.1992Nov20.185922.17647
Organization: Harvard Math Department

In article <1992Nov20.013416.6742@news.cs.brandeis.edu>
jacob@max.cc.brandeis.edu ( ) writes:
:In article <1992Nov19.161636.17612@husc3.harvard.edu> [I wrote:]
:>In article <1992Nov19.021846.22259@Princeton.EDU>
:>>I've always considered the notation of accidentals
:>>in the presence of a clef signature was unnatural...

:>>The natural notation should be (to me) _relative_
:>>to the accidental at the clef, that is if the note
:>>is # at the clef then # --> x, natural --> # and
:>>b --> natural, if the note is b at the clef then
:>># --> natural, natural --> flat and b --> bb, etc...

:>In more recent history one does actually find notation
:>something like Jacob suggested, of which traces remain
:>even in the music of J.S.Bach.  For instance, in G major
:>an "Fb" might mean F-natural, the flat serving to cancel
:>the signature's sharp; in a more distant sharp key,
:>say C# minor, one might see "F#" meaning Fx, with the
:>accidental # doubling the one in the key signature.

:This _is_ exactly what I'm saying. Where is this notation used?

Not in any published scores --- this would be too confusing since the
notation has long passed out of use.  But it does come up occasionally
in manuscripts; try some of the Bach facsimile editions.

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: #1 Brahms & Wagner #2 Brahms & Rachmaninov
Date: 20 Nov 92 15:02:22 GMT
Organization: DSC Communications Corp, Plano, TX


Well, now it looks like I have to check out Gilels/Jochum and Moravec B-flat
and D-minor. There is indeed a wonderful abundance of good recordings.

I remember liking the Gilels/Reiner very much.  His pianism was/is very
close to Rubinstein's in this work.  But I felt that the old Rubinsteein/
Munch recording, a little fast though it was, captured Rubinstein's 
unique ability to embrace the large scale proportions of rhythm and
movement of the Brahms concertos.  I've never found anyone who can
match Rubinstein's sense of proportion on a large scale, i.e. placing
each small part in the exact relationship to the whole, in these
works, at least when he had a good conductor and was playing at his
best.  The Krips recording I found less satisfying, and then the Ormandy
was magnificent.  His D-Minor with Reiner was also inspired in the
same way, and I suspect it had a lot to do with Reiner, whose conducting
in that recording I have yet to hear the equal of.

In the Gilels/Reiner B-flat I especially liked the scherzo and the last
movement.  The Richter/Leinsdorf was eagerly anticipated and got rave
reviews (you can see how old I am).  I was impressed by much of it but
I felt that it was uneven in the sense I described, and too  moody
and "personal".

I once heard a radio performance of the D-minor that knocked my socks
off.  I didn't know who it was, but I thought that it must be Rubinstein
having grown thirty years younger and overcome all his technical deficiencies.
All through the first and second movements I couldn't believe that anyone
could conceive the piece in so precicely the same way (yet it was clearly
someone else, as the technique was so much stronger).  The last movement
did not succeed as well.  It turned out to be Pollini.  I think I heard
his recording of it later and did not end up buying it (partially due
to other circumstances than the music).

Gerry Palo (73237.2006@compuserve.com)
Newsgroups: rec.music.classical