HDTenEightyP/NetNews huggingface dataset:
From: sofoklis@cs.cornell.edu (Sofoklis Efremidis)
Subject: Re: Any stores in the New York City area?
Organization: Computer Science, Cornell University, Ithaca NY
Distribution: usa
Date: Thu, 5 Nov 1992 17:29:09 GMT

In article <hN==Wm-@engin.umich.edu> newjack@engin.umich.edu (Kyong Soo Lee) writes:
>In article <1992Nov4.142141.7485@devildog.att.com> jdalin@devildog.att.com (Jimmy Dalin) writes:
>>In article <1992Nov3.162542.29193@cs.cornell.edu> sofoklis@cs.cornell.edu (Sofoklis Efremidis) writes:
>>>
>>>Hello,
>>>
>>>I would very much appreciate any pointers to stores in the New York City
>>>area that sell concert-level classical guitars.
>>>
>>>Thanks in advance,
>>
>>The Guitar Salon in Manhattan is the best known.  I don't have the phone
>>number, but I can only assume it's in the book.  I believe it's somewhere in
>>the Village.  I have never dealt with them ("her," actually), and I believe
>>she (Beverly Maher?) operates by appointment only.
>>
>>Mandolin Brothers on Staten Island carries some new and used models, but
>>their main business is in folk instruments (steel-string guitars, mandolins,
>>and banjos).
>>-- 
>>Jim Dalin            "No Salga Afuera"  
>>AT&T                    N.Y.C.T.A.
>>ATTMail id: !jdalin            
>>Compuserve: 72260,1573 
>
>Yeah, the guitar salon is probably the best known and the biggest guitar shop in
>New York.  Well, if you are looking for one in Queens, go to Luthier Music Corp. in
>Corona.  It's owned by Tony Acosta(name rings a bell?-he is the producer for Jorge Morel(sp?))
>Anyway, he'll get you a guitar you want at the price you want.  Make sure you call him before
>you visit his shop 'cause he often travels to Europe.
>        Luthier Music Corp.
>        107-06 Corona Av.
>        Corona, N.Y. 11368
>        (718)760-3442
>
>
>Kyong Lee
>U of Michigan, School of engineering
>Wolverines Rule!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
> 

Thanks a lot for the responses to my original message. I would like to
contribute to this list a store/factory that I had been to two and a
half years ago but, unfortunately, I am not sure if it is still at the
same address:

	Juan Orozco Corp.
	1522 Central Avenue
	Far Rockaway, NY 11690
	(718) 868-2100

As far as I know it used to be somewhere in Greenwitch Village, but
at the time I was looking for it, I was told that they had relocated
to the address above. I should also mention that besides importing
classical guitars, this place is a factory that manufactures the
Aranjuez strings.

If you happen to know of any other stores in the broader New York
City area (they do not necessrily have to be in Manhattan) I would
very much appreciate any info and/or comments.

Thanks again,
s.-

-- 
-------------------------------------------------------------------------------
Sofoklis Efremidis
4120 Upson Hall
Cornell University
Newsgroups: rec.music.classical.guitar,rec.music.marketplace
From: sh@cypress.com (Steven Haigh/VDSP)
Subject: Martin 0-15 (1933) acoustic guitar
Originator: sh@kahuna
Organization: Cypress Semiconductor/San Jose, CA
Distribution: ba
Date: Thu, 5 Nov 1992 20:56:58 GMT

Subject says it all, a great sounding 0-15, circa 1933. Good condition
(not quite perfect, a few minor pick marks on pick plate, but that's all!!).

Smaller body than the 0-19's etc.

Includes new hard case.

Recently valued at $800 by Gryphon Stringed Instruments in Palo Alto
(guitar only).

$690 or close offer. 

Call Steve Haigh sh@cypress.com, 408-943-2904 (w), 415-599-9445 (h).
From: staffan@chivas.Eng.Sun.COM (Staffan Liljegren [CONTRACTOR])
Newsgroups: rec.music.classical.guitar
Subject: Re: Fingerstyle Jazz (on a classical maybe)
Date: 5 Nov 1992 17:42:24 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: staffan@chivas.Eng.Sun.COM
NNTP-Posting-Host: chivas

Just some input on teaching material for fingerstyle jazz:

As I said in an earlier posting, I'm close to an intermediate player (whatever that means) and I've
been stocking up on a bundle of sheet music and books for fingerstyle jazz. So far I think the best
book teaching this concept is a series by Howard Morgen, called "Fingerstyle Jazz and Popular 
Music". The names of the 3 volumes are:

	- Preparations (basic *classical* technique, with applications to easy arrangements
	   of simple popular and jazz tunes). If You don't have a basic classical technigue or
	   if You're a beginner and You know that You are going to play mainly jazz oriented
	   tunes with classical technique, this is a good starter. A lot of exercises for finger
  	   independence (eg bass note with free stroke together with treble note with rest stroke)
	- Concepts (a *lot* of interesting material on *arranging* and playing jazz tunes 
	   for fingerstyle. Examples are walking bass, self comping, chord fragments, etc. 
	   Contains a lot (~25) of excellent arrangements (Stompin' at the Savoy, Laura, 
	   Just Friends, Don't Get Around Much Anymore, In a Mellotone etc).
	- Fingerstyle Favorites (>100 pages). Fingerstyle arrangements for 1 and 2 guitars of
 	   Pop and Jazz tunes ranging from (almost) easy  to advanced. 

I bought this series some time ago and sofar I've been *studying* 'Concepts' (of which I have
covered 70 % of using the arranging concepts and maybe 40 % of being able to play the 
arrangments at a decent tempo. 

I've also acquired a lot of other methods and material for fingerstyle jazz, but I haven't had time to
evaluate it properly:

	- Alan deMause has a couple of books on Mel Bay. Some easy and some very
 	   very advanced. I like one volume which has arrangments "in-the-style-of"
	   of a bundle of *very* good fingerstyle jazz players (Earl Klugh, Lenny Breau,
	   Charlie Byrd,  Laurindo Almeida, Ted Greene, Van Eps etc)
	- Fingerstyle Jazz by Ivor Mariants. Uses arrangements of classical (non-copyrighted)
  	   material for teaching devices and techniques. If You like to learn how to 
	  improvise over "Guardame Las Vacas" or "Liebestraum", this is for You !
	- lots of more.....

All in all the series by Howard Morgen stands out as the most valuable source of arrangments *and*
method for playing and arranging fingerstyle jazz. 

But this is just my humble opinion and I can't even play a decent rest stroke 	:-)

/Staffan

Newsgroups: rec.music.classical.guitar
From: gerald.b.ross@um.cc.umich.edu (Gerald Ross)
Subject: Van Moretti Chord Melody Book/Video
News-Software: IBM OS/2 PM RN (NR/2) v0.14 by O. Vishnepolsky and R. Rogers
Reply-To: gerald.b.ross@um.cc.umich.edu
Organization: University of Michigan Math Dept
Date: Mon, 9 Nov 1992 14:28:33 GMT

I'm considering purchasing the Van Moretti Chord Melody Method
(Books/Videos). Has anyone had any experience with this
series?  I know he writes a monthly column for
Twentieth Century Guitar Magazine.

Thanks

_______________________________________________________________

Gerald Ross

     ...It's 1992.  So where's my jetpack?
_______________________________________________________________

Newsgroups: rec.music.classical.guitar
From: newjack@engin.umich.edu (Kyong Soo Lee)
Subject: The Best Aranjuez
Date: Tue, 10 Nov 92 00:17:20 EST
Organization: University of Michigan Engineering, Ann Arbor

Hello fellow guitar lovers!
I just want to as you all one simple question.  Which, in your opinion, is the best 
Concierto de Aranjuez recording out there now?  Also, I'm trying to get the list of all the
Aranjuez recordings out there these days and a review for each, please contribute.

Thanx in Advance.

Kyong Lee
newjack@engin.umich.edu
Wolverines Rule!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
From: mtc@iscp.bellcore.com (Ming Chao)
Subject: Re: The Segovia Collection
Organization: Bellcore
Distribution: usa
Date: Fri, 13 Nov 92 00:53:45 GMT
Followup-To: The Segovia Collection
Keywords: segovia, collection, CD, Laser Disk

Woody Jin Wrote:

>There is also a laser disk "ANDRES SEGOVIA  The songs of the guitar",
>which is recorded live outdoors in the Palaces of the Alhambra.
>One advantage of this LD is that you may see how this grand maestro 
>plays the guitar, in detail (left hand and right hand), 
>which is hard to catch in the actual guitar concertos unless
>a very good binocular is used in a good seat.
>I wish other guitarists' LDs were available.
>Or is it already ?

I am also interested in any classical guitar Videos available.
I saw some Laser Disks in Taiwan featuring Julian Bream(Falla's
Miller's Dance, ...), Biteti(Sanz's Suite
Espanola, ...), and Yamashita(Pipo's Danza No.1, ...).
Anybody know if these are available in the states?
I'd like to get a LD player if a good number of titles exist.

The Guitar Solo Catalog includes some VHS tapes.
I saw 2 Julian Bream tapes, and they are excellent.
Anybody has experiences with others?

Ming Chao
From: stolcke@ICSI.Berkeley.EDU (Andreas Stolcke)
Newsgroups: rec.music.classical.guitar
Subject: Re: Practice Tips for Busy Amateurs?
Date: 11 Nov 1992 02:05:57 GMT
Organization: International Computer Science Institute, Berkeley, CA, U.S.A.
Distribution: world
NNTP-Posting-Host: icsib30.icsi.berkeley.edu

In article <1992Nov11.001506.10324@menudo.uh.edu>, wjin@cs.uh.edu (W. Woody Jin) writes:
|>    4) ppimamip sequence Arppegio :
|>       . Villa Lobos Prelude No.2 middle part.

try pimamami on this for a change -:)

-- 
Andreas Stolcke					stolcke@icsi.berkeley.edu
International Computer Science Institute	stolcke@ucbicsi.bitnet
1947 Center St., Suite 600, Berkeley, CA 94704	(510) 642-4274 ext. 126
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Difficulty of _El Decameron Negro_
Date: 11 Nov 92 18:35:38 GMT
Followup-To: rec.music.classical.guitar
Distribution: usa
Organization: Univ. of Arizona

In article <1992Nov10.201421.14947@cs.rochester.edu>,
steyn@cs.rochester.edu (Gavin Steyn) wrote:
> 
> I'm thinking of trying to play Brouwer's _El Decameron Negro_, and was 
> wondering how difficult it is.  For background, I've had no problems
> playing any of his etudes (although I haven't tried 19 or 20 yet).
> 

 Hmm, well, it is quite a bit more difficult than the studies. It's well
written for guitar, quite "guitaristic" (as opposed to something like
Walton's Bagatelles), but still pretty advanced piece. Have you played any
other of Brouwer's stuff? The "Elogio de la Danza" and "Danza
Characteristica"
are both nice (and both shorter and easier than EDC).
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: wjin@cs.uh.edu (W. Woody Jin)
Subject: Re: The Segovia Collection
Keywords: segovia, collection, CD
Organization: University of Houston
Date: Thu, 12 Nov 1992 19:31:28 GMT

In article <1992Nov12.022754.21513@cbnewsl.cb.att.com> wjh@cbnewsl.cb.att.com (william.j.hery) writes:
>cpferron@cs.hh.ab.com writes:
>>   Question:  I have volumes 1-9 with the exception of
>>   Volume 3.  What is Volume 3?
>>Is it available?   Are there more volumes (past 9)?   Any information would be 
>Vol 3 is called "MY FAVORITE WORKS" and is all Spanish composers (Albeniz,
>Torroba, Sor, Tarrega, Granados, Turina, and Castelnuevo-Tedesco); most
>of the works are in the standard repertoire that everyone seems to record.
>But of course, these are by played Segovia.
>

It seems to me that CD  volume NO  exactly corresponds to LP volume NO.
There is also a laser disk "ANDRES SEGOVIA  The songs of the guitar",
which is recorded live outdoors in the Palaces of the Alhambra.
One advantage of this LD is that you may see how this grand maestro 
plays the guitar, in detail (left hand and right hand), 
which is hard to catch in the actual guitar concertos unless
a very good binocular is used in a good seat.
I wish other guitarists' LDs were available.
Or is it already ?


-- 
____   ____  ____ ____________________________________ (___) _________________
|  |   |  |  |  |  W. Woody Jin (wjin@cs.uh.edu)       (o o)      Moo.... 
|  |   |  |__|  |  PhD Student. Research Asst.  o=======\ /  I'm  a Cow Lover.
|  |   |        |  Dept. of Computer Science   / |     ||O   My wife  was born
\  |---|  |--|  |  University of Houston      `  ||'---||    in Cow year. Mooo
 \____/|__|  |__| _______________________________^^    ^^_____________________
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Practice Tips for Busy Amateurs?
Date: 11 Nov 92 18:52:25 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Nov10.165352.7559@cerritos.edu>, radams@cerritos.edu wrote:
> Lastly, with focused concentration, you can get as much out of one hour
> practice as most players get with 3 to 5 hours of practice. 
> 
 A most important point! With so many types of technical exercises, *HOW* 
you practice is of even greater importance than what you practice. 

 Another strong recommendation I make to all my students is this: if you 
are trying to improve technically, especially if you want to get rid of 
old/bad habits, it is essential that you STOP playing pieces you know and 
start on new pieces. The point is that un-learning is way more difficult 
than learning. Even for an amateur with only a little time to practice,
if you wish to improve technically, the thing to do is drop your current 
stuff *totally* and work on learning some new things VERY carefully. The 
new things shouldn't be too different from what you can already play (in
terms of technical demands). This is a bummer because for a while you
won't be able to play anything, but you can make real progress if you
have the patience and concentration. If you keep playing old things that
you learned with bad habits, you will have a tremendously more difficult
time making progress. If there is anything I've learned over the years,
it is that how you learn a piece is of highest importance. If you learn
a piece carefully and well, it will be solid; if you learn a piece
messily, it will be a mess, and later work to "fix it" will be much more
difficult.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: gg@iok.unit.no (Gus Gassmann)
Subject: Re: Williams and the Romeros 
Organization: University of Trondheim
Date: Mon, 9 Nov 92 20:13:06 GMT

In article <1992Nov9.003323.11529@usage.csd.unsw.OZ.AU>, markc@hydra.maths.unsw.EDU.AU () writes:

|> The reason that Williams, or any other musician 
|> with great technique, plays a given piece at a given speed, is because that
|> is how they think the piece should be played. You would agree that Music is
|> not a speed contest. 

I would tend to agree with this statement. On the other hand I seem to
recall an interview with Segovia where he was aksed about a particularly
difficult passage and why he chose to attack it at such furious speed.
His reply? "Because I am Segovia!" Hmmmh...

Newsgroups: rec.music.classical
From: epohl@hubcap.clemson.edu (Erik Alan Pohl)
Subject: tonal? was Re: Help Required. Dodecacophony. ;-)
Organization: Clemson University
Date: Thu, 5 Nov 1992 22:25:13 GMT

In article <1992Nov5.121516.17136@husc3.harvard.edu> elkies@ramanujan.harvard.edu (Noam Elkies) writes:
...(stuff deleted)...
>instances of atonal music I've been exposed/subjected to, but still
>get a lot less out of the supposed masterpieces of non-tonal music
>than I do from any number of tonal works.]
...(stuff deleted)...
>--Noam D. Elkies (elkies@zariski.harvard.edu)
>  Dept. of Mathematics, Harvard University

I've sometimes seen the words tonal, non-tonal and atonal used as
   separate entities-   what is the difference between atonal and
   nontonal?


-- 
-------------------------------------------------------------------------------
"It's still hard for me to have a clear mind thinking on it.
 But it's the truth even if it didn't happen."(One Flew Over the Cuckoo's Nest)
---Erik Pohl at epohl@hubcap.clemson.edu--------------------------------------- 
Newsgroups: rec.music.classical
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Subject: Re: KDFC - a question.
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston
Date: Fri, 6 Nov 1992 23:44:54 GMT

In article <1992Nov6.230404.2217@tcsi.com>, dmc@tcs.com (Deirdre McClure) writes:
>
>I can't STAND listening to the radio in the Bay Area.  I'm really
>frustrated that the menu is 95% music written by heretofore unknown (with
>good reason) baroque and classical composers, with a little
>Albinoni and Vivaldi thrown in for good measure.
>  
>I want *real* radio. Something written after 1920 that isn't the
>Barber Adagio. That canned announcer has probably never said
>Messeian - or Riley or Glass or Schwantner, for that matter.
>
>grrrrrr.
>
>Deirdre McClure
>

This "canned announcer" is the most bizarre thing I've heard in ages... Can 
somebody track down the full story??? 

Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: STRAVINSKY
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 9 Nov 1992 17:20:01 GMT

In article <2AFC3ECF.3520@news.service.uci.edu> josh@aris.ss.uci.edu (Josh Stern) writes:
>Rob Brooks writes:
>>Josh Stern writes:
>
>>> (haus der luge) writes:
>
>>|>I recall somebody here mentioning that they have a copy of the 'RITE OF 
>>|>SPRING' for ONE piano.
>
>>> There is a pianola version, based on a roll prepared by Stravinsky,
>>> which appears as a coupling for the Rite of Spring performance 
>>> conducted by B. Zander with a semi-professional group from Boston
>>> on IMP.  The pianola `performance' is very effective, particularly
>>> in the driving rhythmic sections which are taken at very fast tempos.
>>> Zander more or less duplicates these tempos with his orchestra but
>>> does not succeed in duplicating the, literally, knife-edged precision
>>> and bite of the pianola - to my mind, Boulez' Cleveland performance
>>> does a better job of capturing the essence of this precision and bite
>>> with an orchestra, doing so at much slower tempos.
>
>>> Perhaps, in any case, it is this pianola version that you are thinking
>>> of.  Though this is one instrument, the scoring is not, I believe, something
>>> which would be physically possible for a single pianist to perform.
>
>>I may be competely imagining this but I think I remember Zander saying that
>>the pianola roll was done by Stravinsky himself (with a few "cleaning up"
>>jobs done later).  He must have been quite a pianist.
>
>I believe that Stravinsky did do the pianola roll himself - BY HAND
>(hence my remark about "literally knife-edged precision").
>My information comes solely from the recording and associated literature
>of the IMP disc mentioned above.  I'll check there again when I get
>home, and post if I find otherwise.

The one piano version is on BIS, coupled with 3 mvts from Petrushka
and something else I can't recall. I can't recall the pianist's name
either - Dag something - but he did the transcription itself. It's OK
but some parts are far too slow - presumably for technical reasons -
and there are still bits missing. The 2 piano version is much better,
but I'd like to hear the recent 4 piano version (coupled with
Debussy's Jeux?) anyone heard this?

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.


Newsgroups: rec.music.classical
From: tholen@galileo.ifa.hawaii.edu (Dave Tholen)
Subject: Re: Best recording of "1812 Overture"?
Organization: University of Hawaii
Date: Tue, 10 Nov 1992 02:52:27 GMT

Terence T. Lung writes:

>>>    I am looking for the best CD (in terms of recording and performance)
>>> of the "1812 Overture" by Tchaikovsky.  Can anyone recommend one?

>> Best performance is surely the 1940 Concertgebouw/Mengelberg on
>> Teldec. He's the only conductor who actually makes it sound like
>> *music*. As for recording, who knows? (And who cares?)

> best recording?  I'll put my bet on that Telarc recording.
> Was it the Cleveland Orchestra?

Nope, Cincinnati/Kunzel.  It's the one with digital cannons.  On the LP,
the grooves made right-angle turns.  Untrackable by almost every cartridge
out there, though a few could handle it.  No problem for lasers in CD
players; big problems for woofers if played too loud.  While recording
the cannons, some windows were blown out a fair distance away.
From: bannistr@maths.tcd.ie (Jeff Bannister)
Newsgroups: rec.music.classical
Subject: Re: Messeian recommendations?
Date: 9 Nov 92 12:38:27 GMT
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.

jaeger@buphy.bu.edu (Gregg Jaeger) writes:

>In article <1992Nov5.004644.6263@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:

>> Messeian was quite a mystic, and 
>>he took Catholic mysticism into a very weird and beautiful world
>>that still sounds shockingly modern.

>When I was last at _Notre Dame_ the organist was playing something
>I _swore_ was Messiaen. It was incredible hearing music like that
>in such a space. Does anyone know how the music played there is
>chosen and/or if it's likely that it was indeed a Messiaen work
>that I heard performed?

It is very likely that it was.
The current organist of Notre Dame is coming to Dublin to perform on
the organ of St. Patrick's Cathedral which Messiaen himself described
as one of the best organs to perform his music on.
The organist, Olivier Lartry, will be performing 'La Nativite' which
is (imho) Messiaen's finest organ work, climaxing with the 'Dieu Parmi
Nous'.

Jeffrey Bannister
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re: Bruckner = Bad Vibes?
Organization: MIND LINK! - British Columbia, Canada
Date: Sun, 8 Nov 1992 16:30:21 GMT

> Peter Herweijer writes:
>
> Bruckner is very difficult to conduct. Listen to Bruckner's ninth
> symphony under Bruno Walter in his (I believe) '59 recording (don't
> let this date bother you regarding sound quality). If you find
> this performance monotonous, give up on Bruckner.
>


I have only 2 Bruckner symphonies (on LP, shows you how interested I am to
try to like his stuff on CD). One is the 9th conducted by Herbie Von Carrion,
his earlier DGG recording which I really like (which I WOULD buy if it came
out on CD). There is one passage in this recording that I was listening to
late at night, sort of dozing off, and suddenly there is this terrific
orchestral attack that made me just about jump out of my skin!

I would like to hear some opinions by string players on how they feel playing
Bruckner with all those bars and bars and bars of tremolando repeated
notes...

Newsgroups: rec.music.classical
From: rms@fssun09.dev.oclc.org (Russ Schnall)
Subject: Zoltan Kodaly Inst.
Summary: Zoltan Kodaly Institute of Music, Information
Keywords: Zoltan, Kodaly, Budapest, Hungary
Organization: OCLC Online Computer Library Center, Inc.
Date: Wed, 11 Nov 1992 18:56:42 GMT

My son has the opportunity to study at the Zoltan Kodaly Pedagogical
Institute of Music in Kecskemet, Hungary, near Budapest.  I know they
have a different approach to studying music, the Kodaly System.  However,
I don't know anything more than that.

Do any of you have any information on this?  Since I know very little
about it, any information you would send my way would be greatly
appreciated.

Thanks very much.
-- 
----------------------------------------------------------------------------
"Nature and nature's laws lay hidden in night,
                  God Said 'Let Newton Be!', and all was light"
                                                    Alexander Pope