HDTenEightyP/NetNews huggingface dataset:
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Greatest living conductors
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 18 Dec 1992 00:53:02 GMT

bjh42543@uxa.cso.uiuc.edu (Brian J. Haag) writes:
: fernande@cps.msu.edu (Jose Roberto Fernandez) writes:
: 
: >Inspired by the recent thread about greatest living pianists, I
: >propose another thread on the "greatest living conductors."  So,
: >who do you think are the greatest living (or recently died) 
: >conductors?  I nominate the following for the top tier:
: 
: >*Karajan, Solti, Giulini, and *Bernstein
: >(additional possibilities being Abbado, Haitink, and Maazel)
: >(*-died recently)
: 
: Giulini is good, but I really don't think that he belongs in the same category
: with the other three that you mentioned.  Also, I would nominate the fast-
: rising Simon Rattle for the second tier along with Giulini.

You are right Giulini doesn't belong in the same category as either
Karajan or Solti. He belongs in a higher one.

How recently dead are we allowed to choose?
--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: sekey@engrhub.ucsb.edu (Andrew Sekey)
Newsgroups: rec.music.classical
Subject: Re: Singer: Heinrich Schlusslos [?]
Date: 15 Dec 92 00:13:38 GMT
Distribution: usa
Organization: University of California, Santa Barbara


	His name is correctly spelled Heinrich Schlusnuss (or perhaps the middle's' is also double?) He is one of the "golden age" German baritones, and rec-
orded some 78 rpm's such as Wotan's Farewell (not that hot, since he has a 
rather light voice), Wolfram (very nice), etc. I don't know about the availa-
bility of Songs of the Wayfairer.

Andrew
sekey@ece.ucsb.edu
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Newsgroups: rec.music.classical
Subject: Re: ?: Dvorak's use of PE
Date: 18 Dec 92 16:26:17 GMT
Organization: University of California, Irvine

In article <138.148.uupcb@tfd.gwinnett.com> ray.horton@tfd.gwinnett.com (Ray Horton) writes:
>
>
>JU> of Hungarian and Rumanian music, I wouldn't say (anhemitonic)
>                                                     ^^^^^^^^^^^
>Hey! That's a five-dollar word!  Can you define?
>

It's not my word but I would guess an = no, hemi = half, tonic = tones

So, no half tones?

John D.
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: cd pricing
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 17 Dec 92 17:27:00 EST

Chris Brewster's *detailed* message was quite fascinating. This gives me
an opportunity to ask a net-wide question. I'll watch the results and
post a summary. Direct e-mail responses might be the best route.

Question:
What do CDs actually cost in your neighbourhood?

Here's an idea of the response I'd like to see:

City & Country:  Toronto, Canada
Local Taxes over and above retail price:  +15%
Currency:  US Dollars (Canadian Dollar x 0.80)

                                Reg Price    Sale Price  Sale Price
Label                                                    You Pay

EMI / full price                $17.60       $12.80      $14.72
EMI / mid price (Studio)        $12.80       $ 9.60      $11.04
EMI / budget ("Z" series)       $8.80        $ 6.40      $ 7.36

Same pricing structure applies to CBS/Sony, RCA/BMG, Teldec/Warner

DGG / full price                $18.40       $13.60      $15.64
DGG / mid price (Abbado series) $14.40       $11.20      $12.88
DGG / budget price (Privilege)  $ 9.60       $ 8         $ 9.20

Same pricing structure applies to Decca, Philips

Chandos / full price            $19.20       $14.40      $16.33
Chandos / mid price (Comet?)    $14.40       $11.20      $12.88

Same pricing structure applies to Hyperion

Music&Arts / full price         $19.20       $15.20      $17.48
Pearl / full price              $20.80       $17.60      $20.24

Same strategy applies to a lot of the historic, air check, 78 reissue,
and European independent labels

State figures in local currency if you like; I'll compile in US
dollars and calculate the Sale Price You Pay including taxes for
comparison purposes

Regular Price -- the price in the alphabetical bins
Sale Price -- the typical price new releases or "label sales" appear at,
not a super-special unusually low price
Sale Price You Pay -- the total cash you put down on the counter
including all taxes

I'll stuff the whole thing into one file and repost as a single chart
for all of our comments or interest.

BTW, I've been keeping track of the different areas of the globe from
which this forum is added to. Just in the last week we've been
entertained by comments from: Australia, Canada, Chile, (West) Germany,
Finland, France, Ireland, Israel, Japan, Netherlands, Norway, New
Zealand, Sweden, Singapore, United Kingdom and United States. This could
be a fascinating survey, IMHO. Please contribute!

Again, e-mail is fine ... address as below.

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
From: rms@hpgrla.gr.hp.com (Rick Scherer)
Date: Fri, 18 Dec 1992 23:37:32 GMT
Subject: Re: Greatest living conductors
Organization: Hewlett-Packard, Greeley, CO
Newsgroups: rec.music.classical

>Who do you think are the greatest living (or recently died) 
>conductors?

I nominate Mackerras.  If you judge by his recordings, he can do nothing
that is not first-rate.  He has superb technical skills, good taste, and
best of all, he really respects the score and doesn't try to have his own
sound.

Rick Scherer
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Prokofiev *Stalin* cantata
Date: 18 Dec 1992 16:32:42 GMT
Organization: University of Houston
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu


Hi...  Could anybody out there please tell me if Prokofiev's *Stalin* 
Cantata (for Stalin's 70th Birthday, December 1949) has ever been 
recorded?  I once saw some archive film footage where the piece was
performed... 

And to *really* get obscure.  Was Muradeli's opera *The Great Friendship*
ever committed to tape?  (yep, that's the piece that caused the 1948 
turmoil in Soviet musical life).  I have seen excerpts from the score 
in a Western-published book... 

Thanks for any help,
Bill

+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: tony@ee.uts.edu.au (Tony Eyers)
Newsgroups: rec.music.classical
Subject: Sheet music ftp sites?
Date: 17 Dec 92 01:08:22 GMT
Organization: University of Technology, Sydney
NNTP-Posting-Host: snrc.ee.uts.edu.au

Does anyone know of any ftp sites that have sheet music (preferably Baroque)

Tony Eyers
tony@ee.uts.edu.au

Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Sviatoslave Richter (Was Re: Greatest living pianist (Was Re: Prokofiev, Scriabin, Piano works))
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 15 Dec 1992 21:54:59 GMT

In article <1992Dec15.162756.2704@bristol.ac.uk> plcdib@bristol.ac.uk (C D I Bertram) writes:
>
>Is the Richter recording of the Well Tempered Clavier on Le Chant du 
>Monde the same as the one on RCA Gold Seal or different?

Almost certainly the same.

I hope I'm wrong.
From: Simon.N.McRae@dartmouth.edu (Simon N McRae)
Newsgroups: rec.music.classical
Subject: *HELP*  Info on Schubert's Fierabras
Date: 15 Dec 92 04:06:48 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0b3@newshost.dartmouth.edu

Can anyone out there provide info on Schubert's only full-scale opera? 
My knowledge of it is extremely limited--I know there's an Abbado/DG
recording floating around, and that's about it.  

I'd like to hear opinions on its musical and dramatic character.  Do
the arias sound more like his art songs (Lieder) or his theatrical
songs?  Is the drama stale and plodding (ie--is it anything like
Fidelio), or does it display at least some degree of alacrity?  Answers
to these types of concerns would be greatly appreciated.  Also, has
anyone had a listen to the above mentioned recording?  If so, comments
there would help, too.

Speaking of Schubert, does anyone know why he never wrote anything in
the concerto or concertante format?  My feeling is these styles didn't
exactly find harmony with his musical language, but really I'm only
guessing here.

Thanks,

Simon McRae
Newsgroups: rec.music.classical
From: carl@cunixf.cc.columbia.edu (Carl Hansen)
Subject: Maria Callas video suggestions...?
Organization: Columbia University
Date: Fri, 18 Dec 1992 20:52:19 GMT



I'm planning to buy a video of Maria Callas (either an opera or
a concert recital) & would appreciate some tips on which of the many
available videos are worth getting.  It will be part of a Christmas
gift by the way which will also include the Callas/de Sabata
recording of "Tosca", for someone who's kind of partial to Puccini.

Thanks in advance for your help!



Carl Hansen
carl@columbia.edu

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Requia
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 11 Dec 1992 17:51:42 GMT

dbrus.Unify.Com.ceb@unify.uucp (Caroline E. Bryan) writes:
: Contrary to the recent assertion by one of our opera buffs that non-opera
: classical music fans invariably point to symphonies as the only music they
: listen to, I'm a devoted fan of Requiems (Requia if your Latin's not so
: rusty).  Can anyone recommend (with reasons) any specific requia (w/ or w/o
: particular recordings)?  I already know and enjoy

Requia????? My Latin is obviously less rusty than yours Caroline.
Requiem is a verbal part of speech, not a noun. It has no Latin
plural. It is only a noun in English (and other modern languages), and
therefore should have an English plural. (Boy, what a pedant!)

: 	Durufle
: 	Faure
: 	Gilles (need a pointer to a CD recording of this)
: 	Mozart (about the only Mozart I like -- he was over-pianoed in my
: 		youth)

Hmmm. about the only Mozart I really don't like.

Verdi, Brahms? ALW (I *don't* think).
--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Greatest living conductors
Organization: Camex Inc., Boston MA
Date: Thu, 17 Dec 1992 20:39:11 EST

In article <1992Dec17.163848.21628@msuinfo.cl.msu.edu> fernande@cps.msu.edu
(Jose Roberto Fernandez) writes:

>Who do you think are the greatest living (or recently died) 
>conductors?

I would nominate Carlos Kleiber for his special magic in extracting from
the players their very best and for turning the sum of the parts into a
very expressive whole.  I've heard him conduct Otello and Rosenkavalier,
and on both occasions I would from time to time find myself in that exalted
state I suspect we all cherish and crave.

Of course that's only one job of a conductor.  Another important one is
orchestra building.  I live in Boston, where the BSO is presided over by
what I consider to be one of the dullest conductors around.  But I've got
to hand it to him for continuing to maintain the BSO sound.

Chris Ischay
chrisi@camex.com
From: ronthal-adam@yale.edu (Adam Ronthal)
Newsgroups: rec.music.classical
Subject: Re: Good music for brass quintet
Date: 13 Dec 1992 00:05:18 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu

In article <1992Dec13.041811.1547@netcom.com> bryan@netcom.com (Bryan Higgins) writes:
>jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless) writes:
>
>>bryan@netcom.com (Bryan Higgins) writes:
>
>>>The Ingolf Dahl brass quintet is a great piece.  Also, check out "Brass
>>>Menagerie" by Cheatham.
>
>>Where?  Did anyone record these?
>
>The Dahl has been recorded by the American Brass Quintet (with trumpeter Gerard
>Schwartz).  My LP on BASF is probably out of print.  Not sure about the
>Cheatham; I confess to being confused about the original poster's request for
>recordings. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>-- 
>Bryan Higgins, Berkeley, California  (bryan@netcom.com)

I'm the original poster.  What's so confusing about not being able to find
any discs that aren't the Canadian Brass doing broadway hits once again for
the ten millionth time?  Actually, I was just seeking reccomendations for
brass quintet CDs.  

Adam

-- 
   /|\  /|~\   Adam M. Ronthal BR'94    |    ronthal-adam@yale.edu	
  /-| \/ |_/   P.O. Box 607 Yale Stn.   |    ronthal@minerva.cis.yale.edu
 /  |    | \   New Haven, CT   06520    |    ronthal@pop.cis.yale.edu

Newsgroups: rec.music.classical
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: Re: women composers
Organization: The Communications Research Centre
Distribution: na
Date: Sat, 19 Dec 92 18:23:04 GMT

In article <1992Dec19.002837.1056@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>graziano@ravel.udel.edu (Lisa Marie Graziano) writes:
>: 
>: 
>: Here are just a few women composers:
>: Francesca Caccinni, early 17th C., composer of operas
>: Barbara Strozzi, 17th C., composer of contatas and other things
>: 
>: Eleanore of Aquitane- ok, so she wasn't necessarily a composer, but she
>: was a very important musical figure in the 1100's.
>: 
>: and of course, Fanny Mendelssohn and Clara Schuman.  (Yes, she wrote music
>: too!).  There are many from the 20th C, already mentioned by others (a few
>: days ago).  Here's one: Ruth Crawford Seeger.
>
>Alma Schindler-Mahler-etc. Gave it up to devote herself to Gustav's
>career. She was a pupil of Alexander von Zemlinsky.

Interesting how nobody has mentioned the very many women composers of
the 20th century, especially of the second half of this century.
-- 
-----------------------------------------------------------------
Ted Grusec - Communications Research Centre, Ottawa, Ont., Canada
From: E.Frejaville@frcl.bull.fr (Etienne Frejaville)
Newsgroups: rec.music.classical
Subject: Coincidence ?
Keywords: Prokofiev, Berlioz
Date: 11 Dec 92 12:17:27 GMT
Organization: Bull S.A

I recently noticed that some parts of Prokofiev's Alexander Nevski were bearing some resemblance to
the Dies Irae of Berlioz's Fantastic Symphony. Is it a coincidence ? Any information about this ?

-- 
--------Etienne FREJAVILLE---Bull S.A   -------------------------------------
 SPO-PARIS/DSE/LPS/TOPAS                e-mail: E.Frejaville@frcl.bull.fr
 Rue Jean-Jaures, F6/1D/05, BP 53       tel: (33-1) 30806548
 78340 Les Clayes-sous-Bois, France     Fax: (33-1) 30807950

"On ne monte pas au paradis avec un train de marchandises"
                                
                                 Paul Klee (a propos d'Anton Bruckner)
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Re: Virtuoso composers
Date: 17 Dec 92 16:26:02 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

dave@stl.panasonic.COM (Dave LaDelfa) wrote:
> Richard Walter writes:
>> As so virtuoso composers, I've heard it said that Vaugn Williams wrote
>> a concerto for every instrument in the orchestra (IMHO, his Tuba
>> concerto is a really great piece of music.) and that he could play the
>> solo part for all of them......
> Perhaps you're confusing him with Paul Hindemith, who did indeed write
> a sonata for virtually every instrument in the orchestra, and 
> I have it on the authority of a professor of mine who knew Hindemith 
> when he taught at Yale that the man could play each and every one of the
> sonatas at a concert-quality level of proficiency. 

More likely he's confusing Vaughan Williams (*NOTE THE SPELLING!!!*) with
Elgar, who wasn't quite in Hindemith's league as a multi-instrumentalist
and didn't write his way through everything possible but could still play
every instrument in the orchestra to some extent.

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Pianists
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 15 Dec 1992 19:20:28 GMT

In article <104788@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
>
>Oh yeah, if there is a shortest of great piano players, look out for
>Maurice Martin


OK.  How short *is* he?



>
>
>                                  -G. Degamo,
>                                    spacefox@acs.bu.edu


Newsgroups: rec.music.classical
From: lungtt@gus5.ecn.purdue.edu (Terence T. Lung)
Subject: Re: How to read orchestral scores?
Keywords: scores, orchestra
Organization: Purdue University Engineering Computer Network
Date: Tue, 15 Dec 1992 16:50:25 GMT

In article <BzA0ts.GIx@news.cso.uiuc.edu> al21146@uxa.cso.uiuc.edu (Richard Feynman Albert LiFeynman ) writes:
>  I have a few questions on how to read orchestral scores.
>1.  How can a person read a whole page of notes at once and knows how it
>  sounds? I can read a Bruckner symphony with relative ease due to its
>  block structure. I need the music on and I can not read all the lines
>  at once. I need to follow the melody. A complex Mahler symphony is too
>  difficult to read for me.
Good question.  Memorize the whole thing?  I know of a guy named
Paul Krosnowsky (spelling?) who seemed to have memorized Brahms'
German Requiem when he was directing the rehearsals and performance 
of this...purely amazing.  More down to earth, I suppose if an organist
can read three or more lines at a time, perhaps it is really possible 
to read an entire page of lines.  Even sight-reading pianists amaze me.
I can only read one line at a time.

>2. Is it possible to self-train in score reading? Almost all my musical 
>  knowledge I know I learned on my own, by reading books and trial and error.
>  If this is so, what is the proper way to do?way 
I would guess practice, lots of practice.

>3. In order to do serios musical criticism on interpretation we must learn to
>  read orchestral scores. Is this true? This is the feeling I get from listening
>to classical music for the past nine years.
For serious musical criticism, I suggest some serious study of music theory.
I don't know about orchestral scores.

>  Thank you for your messianic instruction!
Messianic instruction?  The Messiah has come.  He is Jesus of Nazareth.
And he will come again--the sooner the better.

Newsgroups: rec.music.classical
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Subject: Re: cd pricing
Organization: University of Virginia
Distribution: rec
Date: Fri, 18 Dec 1992 01:30:01 GMT

In article <1992Dec17.4216.25642@dosgate> "alexander inglis" <alexander.inglis@canrem.com> writes:
>Chris Brewster's *detailed* message was quite fascinating. This gives me

Agreed! 
>an opportunity to ask a net-wide question. I'll watch the results and
>post a summary. Direct e-mail responses might be the best route.
>
>Question:
>What do CDs actually cost in your neighbourhood?

Polygram discs in the DC area are generally about 13.99.  I've found,
however, that a little patience inevitably results sales where
you can get nearly ANY disc for $11.99.  (Sorry - I should say
Washington, D.C. and U.S. $)  This includes DG, London, Philips, EMI,
TELARC, TELDEC, etc. but not some labels like Hyperion, etc. which are
always around $18.  Tower Records holds these sales routinely, as does
Olsson's Books and Records.  Waxie-Maxie prices single discs at $11.99
all the time (!) but double disc sets at $31.99 (wierd!).  

I guess you just gotta shop around. =-)


-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote

Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: NEW New Grove?
Organization: Columbia University
Date: Sun, 20 Dec 1992 06:20:00 GMT

An article in the Dec. 13 Washington Post apparently intimated that there
might be a new edition of the New Grove before the end of the decade.  
Not having procured a copy of the article yet (one is on its way to me), 
I'm not sure what was said, but I'm curious if anyone knows what the
official word here is.

As I understand it, the last revision took a decade.  I know they've been
spending much time on the new Opera dictionary, so I'm wondering what might
be the earliest we'd see a New New Grove?  Is 7 years really enough time
for another revision?  Or was the Post being optimistic?


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: The worst composer in a millenium
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 15 Dec 1992 19:25:29 GMT

In article <BzA6wJ.AqM@cs.columbia.edu> tait@cs.columbia.edu (Carl Tait) writes:
>In article <1992Dec12.165335.17469@news.columbia.edu>
>rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy) writes:
>>I had the misfortune of buying Oliver Messiaen's "Turangalila Symphony"
>>conducted by Rattle.  To give credit where it is due, it is the worst
>>music I have ever heard.  Pardon me Messiaen lovers, but I cannot make
>>any sense of his mumbling mystecism or the interminable bird calls.
>
>Since your statement will undoubtedly ignite a flame fest,
>let me risk jumping on the funeral pyre with you.  Of all
>the composers I've ever heard, I'd be hard-pressed to name
>one whose music is as downright repulsive as Messiaen's.
>There are any number of composers I dislike, but Messiaen
>has the unique honor of making me feel physical revulsion,
>as if I were being forced to swim in a large unflushed toilet.
>
>I was in Tower Records last month, and they were playing some
>organ music in the classical department.  As I looked though
>CDs, the music's relentless odium became more and more unbearable,
>until I finally yelled to one of the clerks, "Who wrote this goddamn
>piece of shit?!"  It was ... well, you can probably guess.
>
>Carl Tait
>

Interesting.  Does anyone know which klang Messiaen associates
with brown farben?  None comes to mind.






Newsgroups: rec.music.classical
From: tony@cns.nyu.edu (Tony Movshon)
Subject: Re: The BEST finale!
Reply-To: tony@cns.nyu.edu
Organization: New York University
Date: Wed, 16 Dec 1992 17:08:13 GMT

In article 1gnii7INNibh@master.cs.rose-hulman.edu, stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:

> What is YOUR favorite ending or finale to a classical piece?

Three different wonderful endings:
	Mahler's 3rd Symphony.
	Dvorak's Cello Concerto.
	Verdi's Requiem.

------------------------------------------------------------------------
					Tony Movshon

Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
					Center for Neural Science
					New York University
Phone:	   (212) 998-7880		4 Washington Place, room 809
Fax:	   (212) 995-4183		New York, NY 10003
------------------------------------------------------------------------

Newsgroups: rec.music.classical