HDTenEightyP/NetNews huggingface dataset:
From: boroson@ucsu.Colorado.EDU (BOROSON BRAM S)
Subject: Re: Music Schools
Keywords: Music Schools
Organization: University of Colorado, Boulder
Date: Mon, 14 Dec 1992 23:18:19 GMT

michaels@aludra.usc.edu (Michael Adam Schmidt) writes:

>I have been hopping around for a while now in a number of music schools
>and conservatory-seminar-master class-programs and have mixed results
>from the experiences.  I know what most people consider the best programs
>around.  These are: Juliard School
>                    Eastman School
>                    N. Texas State Uni.
>                    Peabody Conservatory
>                    Cal. State Northridge
>                    U.S.C.
>                    New England Conservatory
>                    Royal Academy of Music/London
>                    Mannes Conservatory
>                    Northwestern University 
>                    Manhattan School of Music

>I think these programs all offer excellent criteria and instruction to
>students.  However, even the best faculty is not an end to the qualirt
>of the program.  I am interested in what others ratings are and if their
>ratings differ from the above.  I personally think from the above list
>Juliard is probably #1, Peabody is #2, and C.S.U.N. is #3.  I have
>attended these institutions and know that they blow the shit out of
>Mannes and New England.  Questions and opinions may be directed to:

>*****************************************************************************

>Michael Adam Schmidt                                 michaels@aludra.usc.edu
>Uni. of Southern Cal.                                michaels@scf.usc.edu
>Dept. of Academic Computing.
>CS SAL-Comp program/Music

>******************************************************************************

What about the Oberlin Conservatory?

Bram Boroson
boroson@ucsu.coloado.edu 
>                    
Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: consensus on 2nd greatest opera [?]
Organization: Indiana University
Date: Tue, 15 Dec 1992 00:33:12 GMT

In article <1992Dec14.234459.25915@news.cs.brandeis.edu> jacob@max.cc.brandeis.edu ( ) writes:
>1. i was wondering if there was a consensus on what the 2nd greatest
>   opera was.
 there is 
>   such a consensus as to what the greatest opera is, namely that it is
>   mozart's "don giovanni", and i do confess that among all the operas
>   *that i know* it is my favorite)
>

Yet another thread that is altogether too subjective. I
certainly am not going to claim that Don Giovanni is *the
greatest* opera! I shall also not want to go out on a limb
and claim that my favourite operas are to be labelled the 
greatest. Such threads, I believe, should have their
subjects rephrased and their assumptions made less rigid:-)

				Sami Mitra
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: schoenberg lieder
Date: 18 Dec 1992 21:11:20 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Tal Herbsman (talh@quip.eecs.umich.edu) wrote:
: 
: i've been looking some time now for songs similar to the schoenberg
: op. 2 songs and cabaret songs. i've tried all the usual suspects including
: zemlinsky, wolf, strauss, mahler, sherck. while each is wonderful in his own
: right, they dont strike me as unabashedly lyrical as the shornberg songs.
: or maybe i confuse unabashed lyricism with shameless romanticism. 

May I suggest (as Cabaret Songs by classical composers)

Satie: Je te veux, La Diva de l"empire
Roussel: Jazz dans la nuit, Hotel, Voyage a Paris, Fetes Galantes, C'est ainsi
Eisler: Kupplerin, Wienerlied
Britten: Tell me the truth about love


Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: The BEST finale!
In-reply-to: stinerkt@NeXTwork.Rose-Hulman.Edu's message of 16 Dec 1992 15:38:47 GMT
Organization: pubs
Date: 16 Dec 92 13:50:08 CST

Kevin T Stiner writes:

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

Rather than nominating my favorite final movement per se, I'd like to
nominate the ending of Prokofiev Concerto 3 as my favorite *ending* to a
piece, in the sense of building up to it and fully justifying the
build-up.  A friend of mine calls this the "orgasmatron" (an invention
in a Woody Allen movie).

Chris Brewster
cb@cray.com
From: ronthal-adam@yale.edu (Adam Ronthal)
Newsgroups: rec.music.classical
Subject: Re: Difficult concertos for various instruments
Date: 11 Dec 1992 17:14:04 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu

In article <1gavkfINNak5@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:
>In article <1992Dec11.045228.11335@murdoch.acc.Virginia.EDU> jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless) writes:
>
>>Also, every Mahler symphony has some tasty horn licks, and of course
>>every R. Strauss tone poem.
>
>By the way, some time ago I heard a historical recording of Richard Strauss
>conducting Til Eulenspiegel. When the famous theme first enters, the horn
>player completely flubbed the top note. No second takes in those days, I
>guess. :-)
>
>Bill

Ouch... It's only a written A.  Not _that_ hard! :)

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: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: NEWS: Pavarotti booed out of the SCALA
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Fri, 11 Dec 1992 20:29:44 GMT


In article <Bz3tvA.HGt@news.udel.edu>, conrad@brahms.udel.edu (Jon Conrad) writes:

|> 1.  Customs are very different in Italy.  Opera is popular sport there
|> -- blood sport, in fact -- and anybody who sings at La Scala knows what
|> sort of reaction to expect if they fall from grace.
|> 
|> 2.  I do find booing appropriate in special circumstances: basically,
|> total professional incompetence in presumably professional
|> circumstances.  The one time I've booed was for a baritone singing
|> Germont in Philadelphia, who went flat on every single phrase as well as
|> scooping from below into every single note (not just first notes of
|> phrases).  He was atrocious, unforgivable (no excuse of illness was
|> made), and I felt quite justified in booing him.  That's once in 30+
|> years of operagoing.
|> 
|> Jon Alan Conrad

I would think that if an opera singer were as bad as you describe, there 
would be some indication of this in tryouts, not to mention rehearsals. 
It's one thing for someone to have a bad day, but to be quite as egregious
as this baritone, I can't imagine he could ever have a good day. 

I wonder why the director (and the rest of the crew/cast) would be willing 
to let an incompetent singer so seriously mar their production. Certainly, 
no member of the production is going to feel good about one of the cast 
being audibly excoriated by the audience.

And yet, it does happen, as you have just said. How is this possible? Are 
good singers, or at least tolerable singers, so hard to find? 

Bradford Kellogg
Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Re: The BEST finale!
Date: Wed, 16 Dec 1992 20:25:21 GMT
Organization: Colorado State University, Fort Collins, CO  80523

In article <1gnii7INNibh@master.cs.rose-hulman.edu> stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
>I just listened to Brahm's Symphony #1 over and over and over...  The  
>final movement is possibly the BEST ending to a classical piece I have  
>ever heard!  That sparked me to ask this question to find out what else I  
>should listen to to hear some amazing endings:
>
>What is YOUR favorite ending or finale to a classical piece?
>
>--
>Kevin T. Stiner                    |"Space is big, really big!"
>stinerkt@nextwork.rose-hulman.edu  |--Hitchhiker's Guide to the 
>AMIGA 4000      Serial No. 000403  |  Galaxy
>NeXT mail encouraged!!             |

Well, one finale that I have always loved, and for reasons I cannot understand,
has recieved criticism in this group, is from Mahler's 1st Symphony...  I think
it is his finest finale, even better than anything Beethoven closes with...

But, Beethoven's 7th has a great ending also.

The finale of Prokofiev's 5th Symphony is so wacky and unique, and Shostakovich
ends his 5th in such a frightening manner that I have to vote for these, too.







Mike Hurben

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: greatest conductors
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Distribution: na
Date: Sat, 19 Dec 1992 00:19:06 GMT

dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
: graziano@ravel.udel.edu (Lisa Marie Graziano) writes:
: : 
: : I know they're not all still alive, but heres some of my favorites:
: : Furtwangler (for Brahms, esp)
: : Szell
: : Ormandy 
: : Solti
: : Bernstein
: 
: Furtwaengler also for Beethoven and Bruckner. Mengelberg, Walter,
: Klemperer, Weingartner, Horenstein.

And how could I forget Kleiber, pere et fils?

--
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: cerrlss@techunix.technion.ac.il (Shahar Steiff)
Subject: Re: Requia
Organization: Technion, Israel Institute of Technology
Date: Tue, 15 Dec 1992 07:41:16 GMT


Seems like nobody has mentioned the Polish Requiem by Penderecky.
I sang the "Agnus-Dei" from this requiem last summer and it was a
remarkable experience.

-- 
 /=== Shahar Steiff  -   Computing and Process Control Engineer ===\
/ Chemical Engineering, Technion , Haifa, ISRAEL 32000   (room 318) \
\ Ph.(+)972-4-293420 Fx.(+)972-4-230476 | cerrlss@tx.technion.ac.il /
 \==Home:Ramat Yochanan 30035 04-459536 | cerrlss@technion.bitnet==/
Newsgroups: rec.music.classical
From: isc20178@nusunix1.nus.sg (ER HIOK SONG)
Subject: Beethoven's No. 4 symphony
Keywords: beethoven, symphony
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 21 Dec 1992 04:37:18 GMT


hello,
I need opinions of Beethoven's no. 4 symphony. I am in the university
orchestra and we're going to try it next year. It would be great if
someone who has played this symphony can tell me about the piece. Thanks
in advance.
--
Er Hiok Song							|
DISCS, Faculty of Science, National University of Singapore.	|
email erhiokso@iscs.nus.sg					|
-----------------------------------------------------------------
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re: The BEST finale!
Organization: MIND LINK! - British Columbia, Canada
Date: Fri, 18 Dec 1992 14:37:43 GMT

> Christopher Hapka writes:
>
> One favorite of mine that I haven't heard mentioned yet is the end
> of Stauss' (R., of course!) _Tod und Verklarung_- the transfiguration
> music.
>

I once had an argument with the tympani player from the Vancouver Symphony
over this ending. I said it should be as loud as humanly possible and he
disputed this, saying it was only "ff". I had to go to the library and grab
the score to show him that it was marked "fff" at the climax!

Newsgroups: rec.music.classical
From: lionel@cs.city.ac.uk (Lionel Tun)
Subject: Borodin symphonies?
Organization: City University, London
Date: Thu, 17 Dec 92 15:28:06 GMT

I understand that DG has just released a double album with Borodin's
3 (ie 2.5) symphonies, plus some fillers such as Steppes, Notturno,
etc. I am looking for a good Borodin symphonies set. Is this a good
one in terms of:
1. Sound and recording quality.
2. Performance.
I would get this, but I want to make sure that DG have not messed up
the recording by cutting of the bass as usual.

How does it compare with the version on ASV from a few years ago.
Are there any other recent DDD recordings?

--
  ________  Lionel Tun, lionel@cs.city.ac.uk  ________
 / /_  __/\       Computer Vision Group      /\ \__  _\
/___/_/_/\/ City University, London EC1V 0HB \ \___\_\_\
\___\_\_\/        071-477 8000 ext 3889       \/___/_/_/
From: spacefox@acs.bu.edu (Godfrey Degamo)
Newsgroups: rec.music.classical
Subject: Re: Pianists
Date: 13 Dec 92 18:25:36 GMT
Organization: Boston University, Boston, MA, USA
Originator: spacefox@acs.bu.edu


In article <Bz3sAr.Mnz@unix.amherst.edu>, mbfeld@unix.amherst.edu (A waste of bandwidth originating) writes:
|> 
|> I want to get some feedback on a thought I've been having...
|> 
|> Is it my imagination or are we in a time singularly short of good pianists?
|> In the last 15 years, we have seen the deaths of Rubinstein, Horowitz, Arrau, 
|> Gould, Hungerford (if you know him)... who remains of this quality?
|> I have respect for Richter, less for Barenboim, none for Pollini.
|> I also think Richard Goode is a hell of a guy...yet none of these people
|> seem to really *have it* to the degree of the aforementioned, or to go back 
|> earlier, of Lipatti, Schnabel, Cortot, Hoffmann, Busoni, etc...
|> 
|> Personally, I think the culprit is TV.
|> 
|> Marlon

What about Anthony DiBonaventura?  He started piano at the age of 3 and
did his first professional concert at the age of 4! (Sorry I don't have his 
biography memorized, but I do know that he has made many musical triumphs at a 
very early age.  Has pieces written exclusvely for him.  And is known around the 
world.  Cool guy, professor at my university, teacher of my teacher and this year 
one the Metcalf award for teaching excellence.) One on Domenico Scarlatti's 
Sonatas and the other on Rachmaninoff's Preludes.  I believe produced
or distributed by Titanic Records.

I thought everyone in the piano community knew about this guy.

Oh yeah, if there is a shortest of great piano players, look out for
Maurice Martin :)  Sorry guys, I just had to put in a good word for my
piano teacher!


                                  -G. Degamo,
                                    spacefox@acs.bu.edu
Newsgroups: rec.music.classical
From: graziano@ravel.udel.edu (Lisa Marie Graziano)
Subject: getting tired of Brahms..?
Organization: University of Delaware
Distribution: na
Date: Fri, 18 Dec 1992 13:13:59 GMT



I can't imagine getting tired of Brahms, in general.  Have you listened to
his cello sonatas?  Quartets/quintets, piano solos?  There is so much
richness and complexity in all those 'layers' he writes in.  But....
reluctantly I admit you do have a point.  The B-flat major piano concerto
with all that rich layering stuff doesn't equal the slow movement of
Beethoven's 4th piano concerto, with its incredibly simple in-unison
orchestral part.  But then, how easy is it to equal Beethoven??  Even
Beethoven couldn't always do that!  
Lisa

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Coincidence ?
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Mon, 14 Dec 1992 17:45:15 GMT

E.Frejaville@frcl.bull.fr (Etienne Frejaville) writes:
: 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 ?

Well the Dies Irae used by Berlioz is the from old plainchant requiem.
It has been used by many other composers - Liszt in the Totentanz,
Rachmaninov in the Paganini variations, Mahler alludes to it very
strongly in the Resurrection. I presume you are referring to the
Teutonic Knights' theme? There is a similar - i.e. mediaeval - feel,
but that's as far as I'd say it went.

--
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: coren@speed.osf.org (Robert Coren)
Subject: Re: How to read orchestral scores?
Keywords: scores, orchestra
Organization: Open Software Foundation
Date: Tue, 15 Dec 1992 22:04:02 GMT

In article <1992Dec15.165025.15334@noose.ecn.purdue.edu>, lungtt@gus5.ecn.purdue.edu (Terence T. Lung) writes:
> In article <BzA0ts.GIx@news.cso.uiuc.edu> al21146@uxa.cso.uiuc.edu (Richard Feynman Albert LiFeynman ) writes:
> >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.

Well, you don't define what you mean by "practice". A few suggestions
along these lines:

Study the score of a piece you're familiar with, trying to "see" the
lines that you're used to "hearing".

Follow along in the score while listening (at first, you should
probably once again stick to pieces you already know).

If you're not familiar with the common C clefs (alto and tenor), you
might try teaching yourself to read them fluently. Copy out passages
written in treble clef in one of the others.

Similar exercise for "transposing" instruments: clarinets in Bb and A,
horns and trumpets in various keys.


There's an edition of the Beethoven symphonies which, for all its
faults, is likely to be useful in the early stages; I don't remember
who published it originally, but it's been reissued by Dover. Although
it has a lot of not-very-helpful notations explaining the structures
of the various movements, it also labels the most audible and/or
intersting instrumental parts with arrows, so that while listening and
reading the score you know where to look :-). After a bit of this,
you'll likely find you don't need the arrows any more. Major
disadvantage: it's got 4 miniature-score pages reproduced per large
physical page, so the resulting type is *very* small.

--Robert
From: rags@triples.math.mcgill.ca (Robert A. G. Seely)
Newsgroups: rec.music.classical
Subject: Re: The Good CD Guide
Date: 20 Dec 92 18:01:26 GMT
Organization: /etc/organization

In article <1992Dec20.044223.6310@newstand.syr.edu> evan@top.cis.syr.edu (Evan Cheng) writes:
>Hi. I was wondering if any body know a place where I can get "The Good
>CD Guide" (a Gramophone publication.)
>
>
>Thanks.
>
>Evan Cheng


You can order this from Gramophone: 177-179 Kenton Road, Harrow, Middlesex,
HA3 0HA, GB.  FAX: (0)81-909-1893.  (Add the appropriate prefix yourself.)

The currently listed price is L14.95 = $24.95 (UK pounds, US dollars, resp.)

- rags

BTW the new Penguin Guide has appeared in the shops here - you might want to
check that out.  (Its list price here in Canada is about $CAN 25.)
Newsgroups: rec.music.classical
From: elltankw@nuscc.nus.sg (Tan Kok Wan Peter (Dr))
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Organization: National University of Singapore
X-Newsreader: Tin 1.1 PL4
Date: Mon, 21 Dec 1992 05:39:13 GMT

Favourite piano concerto?  Can I have more than one?

   *Beethoven's Emperor (since you asked for a Beethoven)
   *Grieg's piano concerto and Schumann's piano concerto for
    romantic gushes
   *Brahms's No. 2 for rich texture
   *Mozart's `Elvira'

Possibly Tchaikovsky's No. 1 and Rachmaninov's No. 2 when I'm in the mood.
                                          Regards,
                                          Peter, 21.xii.92
P.S. HAPPY CHRISTMAS!
Newsgroups: rec.music.classical
From: jon@playfair.Stanford.EDU (Jonathan Buckheit)
Subject: Re: Reply to Greatest Living Pianist
Organization: Stanford University
Distribution: su
Date: Wed, 16 Dec 92 06:11:34 GMT

In article <1992Dec15.180910.18365@digi.lonestar.org>, gpalo@digi.lonestar.org (Gerry Palo) writes:
|> Rubinstein was and remains my personal greatest pianist, though his
|> playing, especially on recordings, varied all over the place.  He
|> definitely had technical limitations, though he got much much better
|> during the fifties and sixties.  He had the wonderful ability to 
|> fake his way over his shortcomings so that the total effect was not
|> harmed by them.  But there were some things he couldn't fake.  It
|> is interesting that he never recorded the Rachmaninoff third.  He
|> also refused to record the Chopin Etudes, though I heard him on 
|> several occasions give stupendous performances of some of the most
|> difficult of them -- such as the Op 10 #4 in C# minor.

It's funny.  People often talk about Rubinstein's lack of technical
mastery, and he makes quite a bit of it in his autobiographies.  However,
I haven't heard a single recording of his in which I wasn't very impressed
by his technique.  He's played most of the hardest pieces too.

I never knew he played the Rachmaninov Third.  I do know he played the
Second and the Rhapsody very well, and according to his autobiography,
learned the First in an afternoon or so.

Another great story from the autobiography concerns the Franck Symphonic
Variations.  Supposedly Rubinstein was called at the last minute to play
them at a concert, and he had never studied them.  He claims he learned
the piece on the train by studying the score and then played it from memory
when arriving (!!!)
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Newsgroups: rec.music.classical
Subject: Re: Valkyrie recordings
Date: 17 Dec 92 22:21:33 GMT
Organization: Indiana University

In article <1992Dec17.161834.11532@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>
>I've finally found a way into the Ring, which is taking small chunks at a
>time and living with them in various versions over a period of time.  So
>I've been listening to Act I of Die Walkure incessantly (well, partly
>cessantly, but a lot).  I love Jon Vickers Siegmund, which I find more
>expressive than James King's and even (dare I say it?) Lauritz Melchior's.
>I'd like to put Vickers' brain in Melchior's body, because sometimes I just
>don't find him very artistic, though he's so incredibly capable.  I don't
>know what the consensus was on Gary Lakes in the Met production, but I
>wasn't unbearably moved.

You may dare say it, and I rush to second you here. Jon Vickers, probably alone 
among the latter day Wagnerian tenors, can be placed on the same footing as
the great Melchior. I am not sure, from what you've mentioned above, if
you're suggesting that Vickers is intelligent but somewhat lacking in
heft(?). You've only got to listen to the last act of his Tristan with 
Karajan to see that he had both: tremendous characterization and no one can
fault his volume either, can one? Also listen to his Grimes for another example
of a most credible, and totally different from Pears', realization.

I haven't heard the Leinsdorf recording. I have heard the Vickers Siegmund
in the Karajan/DG Walkure. He is, of course, the highlight of that recording,
but that's another story. 

I haven't heard the Levine Walkure cd in any organized fashion. Gary
Lakes didn't impress me much in the video production, but my opinion
may be coloured by his unfortunate stage presence. Someone like Behrens,
for example, would have compensated for some of her vocal troubles with
her excellent stage sense.



>
>I am unbearably moved, however, by Regine Crespin, whose Sieglinde is to my
>ears wonderfully womanly, if I can use the term without needing to duck the
>PC police.  Leinsdorf's Sieglinde I thought was kind of low octane.  I also
>have a Leinsdorf live recording which captures Astrid Varnay's emergency
>stage debut as Sieglinde, stepping in for an indisposed Lotte Lehmann.
>Both of those artists are superb.  I'm sure Solti would have preferred
>Lehmann over Crespin, but I think Crespin's characterization is wonderful.

Lehmann's Sieglinde, thank god, is preserved wonderfully in the classic first
act recording with Melchior and Walter. Let me, hopefully in context, plug, as
I have done before, Varnay's Brunnhilde on the Knappertsbusch 1957 Ring. Wow!

Incidentally, any opinions about Studer's Sieglinde on the Haitink recording?

BTW, who is Leinsdorf's Sieglinde?

					
					Sami Mitra
Newsgroups: rec.music.classical