HDTenEightyP/NetNews huggingface dataset:
From: km34@cunixf.cc.columbia.edu (Keith Moulton)
Newsgroups: rec.music.classical
Subject: Re: M"ullerin and lieder tenors
Date: 28 Dec 92 22:57:32 GMT
Reply-To: km34@cunixf.cc.columbia.edu (Keith Moulton)
Organization: Columbia University

In article <1992Dec28.023633.26557@walter.bellcore.com> hsong@ardour.bellcore.com (G. Hugh Song) writes:
>I would like to initiate a thread of great lieder tenors.
>I tried to find a satisfying recording of Schubert's Die Sch"one M"ullerin
>sung by a tenor instead of THE baritenor, D. F.-D.  I like D. F.-D.   
>However, I'd really like to hear the tenor song by a real tenor.
	Yes, me too.
>I heard Fritz Wunderlich, Peter Schreier, and Peter Pears.
>I did not like them all.  Wunderlich is mostly good. But he lacks a real 
>pianissimo, and sometimes his voice gets harsh.

	Wunderlich "harsh!?"  It is true that Fritz didn't go for a real,
falsetto-like pianissimo, but what beautiful piano tones could he produce...
"Allen eine gute Nacht,..." for example, in 'Am Feierabend.'
	Of course there is no accounting for taste, I understand that, but I
think you're missing the boat.  These lieder are _songs_, not arias.  One
gets tired of too much affectation, too much stylization (ala Dieskau).
Fritz delivers these from the heart, with impeccable and transparent
declamation of the text.  He truly sings in a classic style--few rubati or
other artistic 'liberties' are ever taken.  These are songs from the early
Romantic period, so it is arguable that more liberties could be taken.  But
for my money, all that Romanticism is in the text and accompaniment and does
not need to be shrieked at by the singer.
	Wunderlich was, and remains, _the_ premier tenor lieder singer.
In terms of vocal technique within his repertoire, he was and is without peer.
Also buy the recently reissued 'Dichterliebe.'  It's wonderful.  Has anybody
listened to the Edinborough (last performance) live recording of Dichterliebe?

>Peter Schreier's voice is well-controlled but not beautiful.
>Peter Pears has a too much nasal sound.
>I always wished that Carlo Bergonzi had been able to speak German.
	An interesting thought...
	[stuff omitted]
>
>Would you all tell us about your favorite lieder tenors?
>
>	Hug

Keith Moulton.
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Beginning a classical collection
Date: 29 Dec 1992 16:05:11 GMT
Organization: University of Houston
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu

In article <1992Dec28.091408.16539@leland.Stanford.EDU>, paulxxxx@leland.Stanford.EDU (paulastya gupta) writes:
>Hello!  Questions from an ignormaus:
>
>1) How can one "break" into classical music?  My current collection 
>includes the grand sum of *2* classical CD's.  My current thoughts 
>are to get a book outlining the music of different ages (baroque, 
>romantic etc.), and start with the recommendations made as to great 
>works by the major composers.
>
Listen to the local classical radio station (hopefully with live, reasonably-
coherent announcer ;=)  ), and you'll surely hear lots of good stuff. 

>2) Last time I was at the local music store, I compared several CDs 
>of Tchaikovsky's 1812 overture, and noticed that the times differed
>by as much as 1 minute!  Does this mean that it may be slightly cut
>off in the shorter time performance?  This complicates CD buying.
>
Almost always not...  It's "all in the interpretation".  You'd find the 
same thing with "covers" of pop/rock songs also!!!

>3) Should one look only for DDD recordings as opposed to ADD or AAD?
>This further complicates CD purchasing.

No.
>
>4) Should one look for particular condutors/orchestras performing that
>piece?  This really complicates CD selection!

Tough question!  Every classical fan has a different answer to this one. 
However, there's *lots* of good stuff on the $3.99-range labels.  That's 
so cheap(??), you can almost buy "at random".

>
>***************************************************
>
>Thanks.  As a side note, I was recently listening to The Planets by 
>Holst.  Strangely enough, as much as I liked "Mars", I thought the 
>remainder of the CD in its entirety was boring.  I am in my early 
>20s, and seem to go for involved peices (I also like hard rock and metal).
>
>Any recommendations for my tastes?
>
>- paulxxxx@leland.stanford.edu


Happy listening,
Bill
+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: inr@deimos.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: Re: M"ullerin and lieder tenors
Date: 28 Dec 1992 08:08 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: deimos.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

In article <1992Dec28.150841.14263@osf.org>, coren@speed.osf.org (Robert Coren) writes...
>In article <1992Dec28.023633.26557@walter.bellcore.com>,
>hsong@ardour.bellcore.com (G. Hugh Song) asks about recordings of
>tenors singing _Die Schoene Muellerin_.
> 
>I'm not familiar with a large number of such recordings (I have an LP
>with Wunderlich, which I haven't listened to in some time -- I
>remember being vaguely disappointed by it). A few years ago I heard a
>radio broadcast of a recording by a tenor named Martyn Hill, which I
>thought was really beautiful. You might check it out.
> 
>O wise ones of the net: what's with Martyn Hill? Is he still around?
>If so, what's he up to?

 Martyn Hill is certainly still around and going strong - at least he
was last year. He was one of the originals in the Consort of Musicke, and
his contributions to the Dowland series are marvellous. He also 
participated in the AAM Messiah (at least in a concert performance from
the Proms, 1980, a prized tape of mine) - that demonstrates his marvellous
gift for ornamentation.
 More recently hes contributed to the Hyperion / Graham Johnson Schubert
lieder series - there's a fascinating cycle that I got hooked on, and
Hyperion never on sale either - and there's also a recent Virgin
r4ecording of Rubbra settings of Spenser (I think - much too far
from my cds to check) for tenor + string quartet. I'm fairly certain
that he also recorded Les Illuminationss recently - his recordings
crop up fairly often in Gramophone. 
  On the subject of Die Schone Mullerin, I feel that's definitely a song-cycle
better suited for a tenor than a baritone - even a baritone as good as
Fischer-Dieskau at his best. I have an old recording by a young Ian
Partridge (acc. Jennifer Partridge - CfP) which conveys the 
youthful vulnerability marvellous. I've also got the Screier and
Wunderlich versions -and I prefer the Partridges - although
Wunderlich has a fine feeling of spontaneity (and what a voice).

Neill Reid - inr@eccles.caltech.edu
From: kby@cco.caltech.edu (Kimo B. Yap)
Newsgroups: rec.music.classical
Subject: Re: favorite organ work
Date: 29 Dec 1992 04:27:20 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: alumni.caltech.edu

I'll vote for the Widor #5, especially the first movement.-kby 
Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: Re: Most drawn-out ending (Was: Best endings)
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Mon, 21 Dec 1992 19:15:40 GMT

In article <1992Dec20.030047.23788@murdoch.acc.Virginia.EDU> jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless) writes:
>In article <1992Dec19.230054.4363@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>>
>>I'm gonna get flamed for this, but...
>>
>>Beethoven's 5th Symphony.
>>
>>Sounds like it's going to wrap up about five different times in the finale.
>>
>1812 Overture.
>
>-- 
>John C. McCanless				jcm2w@virginia.edu
>
>"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote
>


I love Dvorak, but I think he has a habit of overdoing things at
the end.


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: jtwarden@rpi.edu (Joseph Warden)
Subject: Re: Favourite Organ Work Survey
Followup-To: rec.music.classical
Organization: Chemistry
Date: Tue, 29 Dec 1992 22:38:42 GMT

In article <Bzr24E.ApJ@CAM.ORG>, yedid@CAM.ORG (Gabriel Yedid) wrote:
> 
> 
>      I notice there are a lot of these "favourite" surveys cropping
> up.  Figure I may as well start one of my own.  My question to you all
> is:  What is your favourite organ work, that is, if you have one?

1. J.S. Bach - Orgelbuchlein (Integral)
2. Francois Couperin - Messe a l'Usage des Couvents

---------------------------------------------------------------------
Joseph Warden
Department of Chemistry
Rensselaer
Troy, NY 12180-3590
EMail: wardej@rpi.edu or userhay3@rpitsmts (BITNET)
Tel: (518)276-8482
---------------------------------------------------------------------
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Berlioz' disheveled bombast [was: Furtwaengler on Toscanini]
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 31 Dec 1992 18:50:19 GMT

In article <1992Dec31.182339.24353@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:

>				 I love Berlioz for his disheveled 
>bombast



Me too.  So this seems as good a time as any to recommend the recording
of Symphonie Funebre et Triomphale by Musique des Gardiens de la Paix
on Calliope.  Even if you have Davis or Dutoit, try to hear this.


Steve, unreconstructed Bonapartist.





Newsgroups: rec.music.classical
From: bryan@netcom.com (Bryan Higgins)
Subject: Re: Sviatoslav Richter
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Wed, 23 Dec 1992 07:09:16 GMT

In article <1992Dec11.161136.24309@visual.com>, rwh@visual.com (Rob Holzel)
wrote:
> 
> 
> My own favorite Richter recordings.  These are all in good-to-
> excellent sound:
> 
> Bach Well-Tempered Clavier  (already mentioned)

I've got this, and I think the sound is dreadful.  Very, very live, watery
sounding, a bird chirping along loudly in places.

The CD set says these were recorded in Salzbourg, while the Melodiya LPs said
they were recorded in the USSR.  They are the same recording (I've compared).
Which is correct?
-- 
Bryan Higgins, Berkeley, California  (bryan@netcom.com)
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Saxophone, use of - : list v1.0
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Wed, 23 Dec 1992 22:00:25 GMT

jwenger@ulci06.unil.ch () writes:
: 
: Dear Netters,
: 
: You are all wonderful peoples. Many thanks to:

I forgive you for leaving off my name, but....

: Vaugham Williams, Ralf: Antarctic Symphony, the 3rd and,the 4th

The name is Ralph.......

--
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: apter@fid.morgan.com (Steve Apter)
Subject: Re: Saxophone, use of - : list v1.0
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 24 Dec 1992 20:40:31 GMT

In article <1992Dec23.220025.18388@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>jwenger@ulci06.unil.ch () writes:
>: 
>: Dear Netters,
>: 
>: You are all wonderful peoples. Many thanks to:
>
>I forgive you for leaving off my name, but....
>
>: Vaugham Williams, Ralf: Antarctic Symphony, the 3rd and,the 4th
>
>The name is Ralph.......
>

..... pronounced "Rafe" (at least, by his wife).


>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Shostakovich symphony recommendations
Date: 21 Dec 1992 15:36:08 GMT
Organization: University of Houston
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu

>	I'm just beginning to explore Shostakovich's symphonic output.
>To date, I own symphonies #7 (Mata/Dallas) and #6 & #9 (Jansons/Oslo),
>and I'd like to know your thoughts on the following:
>	1.  What are the "best" recordings of his 11th and 13th?
>	2.  Which other of his symphonies would be most worth exploring
>(as a possible guideline, I like the 7th much more than the 6th and 9th)?
>    Thanks in advance for your suggestions.
>--jason
>

#5  Bernstein/NYPO  1959 recording

#8  Mravrinsky/Leningrad PO  live ca. 1980s recording

#15  Haitink/Concertebrou (sp) 

Happy listening,
Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: naras@cda.mrs.umn.edu (B. Narasimhan)
Subject: CD inserts.
Organization: University of Minnesota - Morris
Date: Tue, 22 Dec 1992 16:39:38 GMT

Just a thought.

Certain labels like Archiv, DG, to name two, include excellent
historical material in their CD inserts on the composers. Others
don't, although RCA and CBS seem to be improving.  However, I am 
always frustrated by the fact that not much info is included about
the performers or the orchestra.  I have the whole set of 9 Beethoven
symphonies by Roger Norrington and it has some info on him and his
orchestra repeated in all of the CD's.  

Which labels include biographical info on the performers
on a routine basis? Wouldn't it be nice if the material was
pertinent to the performance itself? I have seen CD
inserts regurgitating the same reviews for many different
recordings.

-- 
B. Narasimhan                             naras@cda.mrs.umn.edu
Division of Science and Math.
The University of Minnesota at Morris
Morris, MN 56267
Newsgroups: rec.music.classical
From: smw@ira7.ecn.purdue.edu (S. M. WU)
Subject: Re: beethoven's symphonies
Organization: Purdue University Engineering Computer Network
Distribution: rec
Date: Tue, 22 Dec 1992 01:21:19 GMT

In article <1992Dec21.4216.25866@dosgate> "alexander inglis" <alexander.inglis@canrem.com> writes:
>
>   >z    Subject: beethoven's symphonies
>
>SMW>How about the Furtwaengler's recording of Beethoven's symphonies on
>   >'Virtuoso' label?  I bought a set of 5 discs including all but the
>   >2nd symphony for only US$18 (in mono, too).  Are they considerably
>   >inferior to his EMI recording, individually or as a whole?  Is there
>   >any EMI disc(s) worth owning in addition to the Virtuoso set?
>
>Oh-oh ... another label with WF performances floating about ...
>I don't know this one. Could you post -- or e-mail -- the recording dats
>if the box references these? I'm a Furtwaengler nut ....
>

These are live performance dated from 1952 to 1954 by WF with VPO or BPO.
The set includes 8 symphonies (without 2nd) and overture of Leonora #3.
Only listened to part of the 3rd and 9th (bought the set for just 3 days),
wonderful performance.
From: masjpf@gdr.bath.ac.uk (J P Fitch)
Newsgroups: rec.music.classical
Subject: Re: Music by Paul Lansky on Bridge Records - an appreciative review.
Date: 22 Dec 92 18:49:00 GMT
Organization: School of Mathematical Sciences, University of Bath, UK

I recently bought a CD player, and Lansky's record was the first one I
ordered.  I heard parts of it at a Conference/Festival in Greece last
summer, and as "Homebrew" is only available on CD I had to change my
system. 

I like all the music on the CD, but "Now and Then" is especially moving.

I wholeheartedly endorse this recommendation.

==John
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Date: 21 Dec 92 22:45:29 GMT
Followup-To: rec.music.classical
Organization: Univ. of Arizona

In article <1992Dec21.011843.3283@cronkite.ocis.temple.edu>,
zorro@picasso.ocis.temple.edu (John Grabowski) wrote:
> 
> 
> I must admit I'm starting to enjoy these "Greatest All-Time" and "Favorite" 
> threads, so I'm starting another one.  :-)   The question is, What is your
> favorite piano concerto?
> 
> And a very important sub-question: What's your favorite *Beethoven* piano 
> concerto?
> 
> Inquiring minds want to know...


				#1 Mozart PC #9 in Eb (K. 271)  a remarkably beautiful and innovative
          work, especially from so early in Mozart's life...

				#2 Ginastera PC #1

I'm not really up on the Beethoven concerti.....

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical
Subject: Re: Most drawn-out ending (Was: Best endings)
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Date: Wednesday, 23 Dec 1992 10:01:32 EST
Organization: University of Maryland at Baltimore

coren@speed.osf.org (Robert Coren) writes:

> I think of all the "famous" pieces that I love, the one whose failure
> to end in a timely fashion :-) annoys me most is the Dvorak 9th. I
> keep thinking how wonderful it would be if the final cadence were the
> last version of the chord sequence taken from the opening of the
> second movement, with that slightly bizarre "Neapolitan" chord.
> Instead he insists on piling on the bombast,revisiting the opening of
> the last movement in several guises, and going up and down that silly
> major arpeggio, etc.

Yes, YES!  My sentiments exactly!  That _STUPID_ major sixth chord in
those trombones!

Bob
Newsgroups: rec.music.classical
Subject: Re: Jenufa at the Met
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Thursday, 31 Dec 1992 13:48:49 EST
Organization: City University of New York/ University Computer Center

Rysanek's ability to galvanize an audience never ceases to amaze. It's about
35 years since her Met debut (as Lady Macbeth, replacing the fired Maria Callas
and stepping into a major controversy). I remember seeing one of her first Met
performances as Senta in The Flying Dutchman around 1960. The Met did Dutchman
in three acts back then. Her performance in the second act was so overwhelming
that there was a 20 minute ovation during the intermission. This season, she
repeats that feat as the Kostelnicka. Has any other singer been able to main-
tain Rysanek's power for so long a time period? After all, it is not as if she
specialized in repertory easy on the voice.
Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: Re: CD prices
Organization: HAC - Johns Hopkins University, Baltimore
Date: Thu, 31 Dec 1992 17:52:53 GMT

In article <92364.142542U58402@uicvm.uic.edu> <U58402@uicvm.uic.edu> writes:
>In article <1992Dec24.191243.9008@jhunix.hcf.jhu.edu>, velde2@jhunix.hcf.jhu.edu
>(Francois Velde) says:
>
> [analyses of CD prices as cost/minute plying time snipped]
>
>These sorts of analyses are very interesting, but I think that from the
>standpoint of the consumer, this is the wrong index to use. What we
>probably should be looking at is cost/minute of listening time we will
>devote to out new purchase. 

True, but how much time we end up listening the CD we only know *after* the
purchase; but our decision is made before the purchase. 

In any case, to answer Keith Bockus on this, I only wanted to correct the
numbers given by Chris initially.  What do these "cost/minute" analyses
tell us? Not what the price of CDs should be. But it tells us that (unless
consumers' attitudes have changed considerably in 10 years) consumers are
willing to pay at least $20-22 per CD, since that is what they were paying
for LPs (and this doesn't factor in the longevity of CDs).  Again, it doesn't
say we *should* pay that price.

If Rene Goiffon is a woman, apologies to her: the first name, unmistakeably
masculine, misled me.

-- 

	Francois Velde

Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: cd prices
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 28 Dec 92 21:53:05 EST

FV>I just want to comment on Chris Brewster's comments about the prices
  >of CDs.  He posted a text by R. Goiffon, the president of Harmonia
  >Mundi USA trying to convince consumers to tolerate even higher prices
  >for classical CDs.

FV>*** warning *** warning *** warning ***

FV>The author is an economist. Proceed at your own risk.

  >Date: Thu, 24 Dec 1992 19:12:43 GMT

THIS is how you spent Christmas Eve?!?

I admit to finding a number of things to nit pick in the posting
mentioned above but restrained myself. R Goiffon does the cause a
disservice by presenting the argument in such a confused manner.

I'm sure most of us here are prepared to pay an amount for the continued
recording of new works and new artists. That's going to be built in.

But the unspoken in Goiffon's remarks is that these non-major labels
often acquire much higher prices than their competition (EMI, say). A
mid-priced label like Hyperion in its native England is priced in my
town as a premium import. Yet EMI manages to sell mid-price in both
countries at mid-price. And I'm thinking of the sort of titles that are
guaranteed *not* to sell in vast quantities: EMI's Schubert masses on
Studio, for example. Don't tell me they're selling hundreds of thousands
of *those* worldwide and thus have economies of scale!

On a slightly different note, Goiffon mentioned that the *average*
classical CD is lucky to sell 5,000 worldwide. That may be. Sony Canada
reported recently it has sold 100,000 copies of Glenn Gould's 1982
recording of the Bach Goldberg Variations *in Canada alone*! Wow!

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
Newsgroups: rec.music.classical
From: atems@igor.physics.wayne.edu (Dale Atems)
Subject: Re: Shostakovich symphony recommendations
Organization: Wayne State University, Detroit, MI
Date: Wed, 23 Dec 1992 15:06:37 GMT

In article <1992Dec23.120948.29587@st-andrews.ac.uk> gr@st-andrews.ac.uk (Gavin Ramsay) writes:
>Try any of the Jarvi/SNO discs. They did 1,4-10 and all were first rate.

Jarvi also did the 15th with another orchestra (I forget which), released on
DG. It's hard to make the slow movement sound like more than one statement
after another, but Jarvi keeps a high level of tension. Great sound, too.

------
Dale Atems
Wayne State University, Detroit, MI
Department of Physics and Astronomy
atems@igor.physics.wayne.edu
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: women composers
Date: 21 Dec 1992 15:27:47 GMT
Organization: University of Houston
Distribution: na
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu

[...]
>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
>

Actually, I did, and will happily do so again... ;=)

Sofia Gubaidilina, Joan Tower, Pauline Oliveros, Meredith Monk, Joan LaBarbara,
Laurie Anderson, Elizabeth Maconchey (sp), Ellen Zwillich...  They vary from 
"convervative classical tradidtion" thru' avant-garde to experimental, so there
should be something for all to enjoy...

Happy listening,
Bill
+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+