HDTenEightyP/NetNews huggingface dataset:
Organization: University of Maryland at Baltimore
Date: Saturday, 15 Aug 1992 18:15:25 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject: Re: WEBERN
 <1992Aug13.212031.17505@Princeton.EDU> <1992Aug14.172009.1451@fid.morgan.com>

RE the recommendation of Gould's Moscow concert (issued on CD by Le Chant
du Monde), and the performance of the Webern Variations contained therein,
it is full of a surprising number of errors. I hate slamming Glenn (esp.
as the tenth anniversary of his death is fast approaching), and the disc
has much to recommend it (particularly his encores from the Goldberg
variations), but the Webern isn't the high point, or even a very good point.

Bob.
Newsgroups: rec.music.classical
From: rlk@underprize.think.com (Robert Krawitz)
Newsgroups: rec.music.classical
Subject: Re: Tower Records : Sale
Date: 15 Aug 92 17:16:44
Organization: Thinking Machines Corporation, Cambridge Mass., USA
	<1992Aug14.213843.1934@fid.morgan.com>
NNTP-Posting-Host: underprize.think.com
In-reply-to: steve@fid.morgan.com's message of Fri, 14 Aug 1992 21:38:43 GMT

In article <1992Aug14.213843.1934@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:

   >							  The
   >classical department in the NYC city Tower is about half that
   >of the one in Boston, 

   Yes, but we have *two*, so ...

We have two here, too, conveniently located within walking distance
(when I want a fairly long walk).  They're both conveniently located
near Looney Tunes (which also has two places), so I can conveniently
check for a used copy first.  Granted, Looney Tunes doesn't know that
much about classical CD's (sometimes I see budget CD's priced higher
than they are elsewhere), but I've found some interesting bargains there
(and there's lots of interesting vinyl there, too).

Harvard Square has at least four major dealers of new CD's (Tower, HMV,
the Coop, and Strawberries, although it's tough to count the Coop since
they're so much more expensive), and at least three used dealers I can
think of (Looney Tunes, Second Coming, and Mystery Train, plus other
hole in the wall type places).  There are other places that sell CD's,
such as Briggs & Briggs.  There's probably also a Newbury Comics nearby
(at worst, take a trip down the street to the *real* school in
Cambridge, namely MIT), and then go across the river to Tower and the
other Looney Tunes.

Personally I can't understand why Tower bothered to open the Harvard
Square store -- they're on Mt. Auburn St. in what must be an
exorbitantly expensive building, in what must be one of the most
competitive markets for recorded music in the world.  The Harvard Square
store isn't as good as HMV, although HMV isn't nearly as good as the
Tower on Newbury St.
--
ames >>>>>>>>>  |	Robert Krawitz <rlk@think.com>	245 First St.
bloom-beacon >  |think!rlk				Cambridge, MA  02142
harvard >>>>>>  .	Thinking Machines Corp.		(617)234-2116

Member of the League for Programming Freedom -- write league@prep.ai.mit.edu
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: Opera miscastings (Re: Immortal opera recordings)
Date: Fri, 14 Aug 92 19:32:31 PDT
Organization: The Portal System (TM)
Distribution: usa
  <Bsrys6.8CL@news.udel.edu> <1992Aug13.203240.6235@indetech.com>

  Regarding opera miscastings, another that comes to mind for me, from
a live performance (by the Met, in Minneapolis, back when they still
did the spring tours -- about 1981 or so, I think), was Renata Scotta
as Norma.  I have admired her singing in other roles, but Norma was
simply too much for her, in my opinion, either because of the time in
her career or the basic voice, or whatever.

  A far different case that also comes to mind is Schwarzkopf as the
Marschallin in Der Rosenkavalier -- I never heard her do it and I
imagine it was one of her great roles -- but I remember someone telling
me once he had seen her do it (in Vienna, I think) and felt that there
was a dramatic flaw: she was simply too beautiful for Octavian to have
left her for a younger woman!

     Bill Pearce
Newsgroups: rec.music.classical
From: lampson@tellabs.com (Dave Lampson)
Subject: Re: Telefunken records
Keywords: Telefunken
Organization: Tellabs, Inc., IL
Date: Thu, 20 Aug 1992 23:11:17 GMT

In article <18AUG199212285787@gallstone.bucknell.edu> jhill@gallstone.bucknell.edu (HILL, S JACKSON) writes:
>I am trying to track down a Telefunken recording Tel 6.28575.  I do not know
>title or performers, but it would seem to be an anthology of Volkslieder or
>something similar--perhaps short choral songs of various sorts.  Does
>Telefunken still produce or have they been sold to another company?  Is there
>anyone reading this who is in Germany and could telephone a local record shop
>for me and post or e-mail any information?  Any info would be welcome.


I'm not exactly sure of the sequence of events, but I *think* Telefunken
was a label owned by Teldec at some point, and about 12-18 months ago 
Teldec was bought by Warner.  Warner has since released a number of the 
Telefunken recordings, most notably the Bach Cantata series, but there 
remains many, many Telefunken recordings that are out of circulation.
I have current Teldec catalog, so if you can come up with more specific
info as to the contents of the recording, I might be able to help.  They 
have changed the catalog numbering scheme, so the old number you gave 
won't be of much help.

-- 

Dave
lampson@tellabs.com

For detailed lists of Recommended Classical CDs, Basic Repertoire and Buying
Guide access cs.uwp.edu (131.210.1.4) by anonymous FTP, or email me for info.

Contribute to the rec.music.classical biography project!  Email me your bio!
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: JOHN CAGE
Date: 21 Aug 1992 16:46:30 GMT
Organization: CS Division, UC Berkeley
Distribution: world
NNTP-Posting-Host: mahogany.cs.berkeley.edu

In article <c1JuPB3w164w@sys6626.bison.mb.ca>, kevin@sys6626.bison.mb.ca (Kevin Scott) writes:
|> > Got a definition of music handy?
|> 
|> No definition, just the idea that something in a piece should be fixed.
|> Fixed enough that listening to it lends it some sort of recognition.

I think this prejudice bars you from some pretty interesting musical
experience.  Thought experiment:  you hear a brief string quartet, in
"pointillist" idiom.  You only hear it once.  What is your reaction if
you now learn it was

	* a Webern piece, played from a fixed score

	* a Morton Feldman piece of the 50's, played from a loose
approximate score, in which players are told, for example, "Play seven
notes in the high register within this slow beat."

	?  Do you reject it in the second case?  Does learning the
answer to the question change the experience you had?

|> Music and philosophy are a bad mix.

As Roger said, Cage would agree.

	Vance
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Re: John Cage
Date: 14 Aug 92 17:05:09 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

smoliar@iss.nus.sg (stephen smoliar) wrote:
> Robert Haskins <RHASKINS@UMAB.BITNET> writes:
>> National coverage has been miniscule (a piece on National
>> Public Radio, someone told me), but nothing on networks that I saw.
> I took my usual half-hour dose of CNN International when I came home
> yesterday afternoon.  There was no mention at all.  However, my wife
> heard the BBC news at 4 PM;  and they deemed it worth reporting...

BBC Radio 3 cancelled a scheduled programme to run a commemorative - I
think this was the the programme they made for when he was featured
composer at Huddersfield.

And we get 50 minutes of Sorabji for his centenary tonight - they do get
things right occasionally.

-- 
--  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: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Dukas' La Peri
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Fri, 14 Aug 1992 14:37:58 GMT

I've been enjoying a recording of Dukas's La Peri (conducted by Jordan - Ok
performance, but could be a bit more taught and more brilliant sounding).
Anyway, this ballet is preceeded by a fanfare.  The notes for the recording
imply that the fanfare is part of the ballet.  But when I went to check
the scores (both the full orchestral score and a piano reduction) there
was no fanfare to be found (neither was there an explanation).

I haven't exhausted my paths of research, but is there anyone out there
who might explain where I might find the printed music for this fanfare?
Thanks a lot.

Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Profile of Wanda Landowska
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 20 Aug 1992 06:43:51 GMT


Access to equipment capable of displaying .gifs
being somewhat limited, I thought I'd make the
following graphic of Landowska available to her
many fans.  E-mail for viewing instructions.


xxxxxxxx
xxxxxxxx x
xxxxx    x
xxxx      xxx
xx     ----   x 
x               x
x           xxxxxx
x           x
         xxxx
           x
     xxxxxx
  xxx
     xxxx
         xxx
           xxx
              xxxxxxxxxxxxxxxxxxx     
                                 x x
                    xxxxxxxxxxx x x  x x
                              x  x    x  x
                            x   x     x   x
                               x     x   x
                             ///   /// ///


Enjoy!  

Subject:  Verdi's Don Carlo
From:  carlos@griver.bellcore.com (Carlos Yabut)
Newsgroups: rec.music.classical
Organization: Bellcore - Information Technology, Morristown, NJ
Reply-To:  carlos@griver.bellcore.com (Carlos Yabut)
X-Gateway: ALEX.ims.bellcore.com
Date:  Wed, 12 Aug 92 12:08:45 EDT
To:  news-post@ctt.bellcore.com
Message-ID: <1992Aug12.165857.6559@ALEX.ims.bellcore.com>
I'm interested in the the french libretto of this opera. Does anyone
know where I can one?  

Newsgroups: rec.music.classical
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: Renaissance music misconceptions
Date: 22 Aug 92 04:25:15 GMT
Article-I.D.: husc3.1992Aug22.002515.15005
Organization: Harvard Math Department

This thread seems to have gravitated to e-mail with the two other people
involved.  I still maintain that the sheer size of a chorus should not
stop it from singing Renaissance music well; if your 50+ voice choir can
do justice to Bach's Lobet dem Herrn/Alleluja motet then it can likely
handle Josquin or Monteverdi as well.  (In neither case will you want
the members to simply sing as if there was only 1 or 3 on a part... 
Some adjustments will help.)  Thanks to Neill Reid for information on
Spem in Alium, Striggio's Ecce beata hominem, and other Renaissance
motets with extreme numbers of parts; I'll look them up once I return
from a week's vacation.  Among others, he mentions
>                                                   the 19-part motet 
>`O bone Jesu' by Robert Carver (written for James IV Chapel Royal at 
>Stirling and including 11 parts for tenors - what an excellent choice),

Sounds wonderful, but where will you find 11 good tenors who will
tolerate each other's company? :-)  Presumably this motet is for male
choir, with "tenor" including some alto lines, and the remaining 8
being bass parts?  And what's an "Earthquake" mass?  Guess I'll find
all of that out next week.

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
Subject: Re: Transcendental Etudes of Liszt
From: Alessandro Perrone <Perrone@iveuncc.unive.it>
Date: 17 Aug 92 13:57:48 +0100
Distribution: world
Organization: University of Venezia
X-UserAgent: Nuntius v1.1a2Lines: 17

From: Leon C. Salcedo, leon@garnet.berkeley.edu
Subject: Transcendental Etudes of Liszt
In article  Leon C. Salcedo, leon@garnet.berkeley.edu writes:

>
>Hi. I would like to know if there exist a recording of Liszt's 12
Grandes Etudes
>(1837 version of Transcendental Etudes). Also, are there any recordings
of
>Ferruccio Busoni of these etudes (1837 or 1851 version)?


There's a recording made by Janice Weber a couple of years ago.
I heard some studies from this recording: no big deal.
There's no other chance, though.

Marco Simionato
From: kevin@sys6626.bison.mb.ca (Kevin Scott)
Newsgroups: rec.music.classical
Subject: Re: Reich
Date: Sat, 15 Aug 92 13:25:39 CST
Organization: system 6626 BBS, Winnipeg MB

erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:

> Kevin Scott writes
> > After hearing the Steve Reich ensemble piece "Eight Lines", I
> > found it on a CD called "Minimalist" featuring works by Reich, 
> > Glass, and Adams.
> >  
> 
> Just Curious -- which pieces by Glass and Adams?
> 
> Ed erwin@lisboa.ks.uiuc.edu

 
Glass: _Facades_ and _Company_
Adams: _Shaker Loops_
Reich: _Eight Lines_
Heath: _The Frontier_
 
A great disc.

KS

;--- (Kevin Scott) a user of sys6626, running waffle 1.64
;E-mail: kevin@sys6626.bison.mb.ca
;system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Manners, children please...
Date: 21 Aug 92 15:09:10 GMT
Organization: Princeton University
Originator: news@nimaster

In article <1992Aug21.071906.20834@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>John Cage was a very clever man. He wrote things like 4-33 simply to
>annoy those who would be annoyed by it, in the hope of broadening their
>musical horizons.

Care to tell us how you know this?  It's in direct contradiction to the
things we've heard from Jamey Pritchett, who actually investigated why
Cage wrote it, and in contrast to what Cage himself has often said.

>There is (I seem to recall from Indian Philosophy studies way back) a
>notion of "Bija Samadhi" (sp.) that posits a possibly worthless thing,
>that makes others learn (trans. "seed of mediation" - much like pearl grit). 

Did Cage ever relate his music to such an idea?  I don't think he did.

>I consider Cage to have been a necessarry antidote to the twelvers and
>Stockhausen. He also had a beguiling gift of melody - I can remember
>every song of his I've heard. The sonatas for prepared piano are very
>beautiful. 

>He is, however, not as great as some would say - particularly those who
>use his aesthetic to justify their own avoidance of hard work. 

That's their problem, and has nothing to do with his greatness (whatever
that is); moreover, lots of hard-working musicians have called him great
as well.

>(That
>includes a lot of people who "discovered" classical music from the area
>of pop, and knew that Yoko thought Cage was cool).

How many people *both* discovered classical through pop and got into
Yoko's music, I wonder?  And how many of them considered her stuff
"classical"?  Most pop fans thought of her as more or less the
Antichrist.

>He is also responsible for performance art, which is great when an
>inspired, hard-working, revising artist like Cage is the instigator, but
>is worthless when the second-rate use him as camouflage for their total
>lack of skill, inspiration, talent and knowledge of tradition.

That's true of every art form from mystery writing to printmaking to
composing.  Your point?  (Also, I'd challenge Cage's role in the
development of p.a.  He had something to do with it, but he sure wasn't
"responsible" for it to the exclusion of others.)

>So please stop shouting at each other because it's pointless. It's like
>the Mac/PC debate -  a religious thing.

Actually, some of us are just trying to get a few facts in.

Roger
>
>
Newsgroups: rec.music.classical
From: cliff@marasai.asd.sgi.com (Clifford O. Thompson)
Subject: Flute models
Keywords: Gemeinhardt
Organization: Silicon Graphics, Inc.
Date: Fri, 21 Aug 1992 22:12:24 GMT

	I recently purchased a used flute for $100.  It's a Gemeinhardt M2, if
I'm reading things correctly, and came with a hard case, cleaning rod, and
several books.  The condition is excellent, and I'm finding it easy to play,
with the aid of the exercise manuals.
	A few questions - is this a flute that I can stay with, or, at
some time, if my playing improves through practice, will I need to purchase
another instrument?  I don't have any ambitions to being in an orchestra, or
even in a garage band, but mostly play by myself, occasionaly with friends.
Musically, I enjoy playing classical, folk, and country.
	I'm also working of a book by F. Wagner (can't remember the title),
which is supposed to be an introductory flute method, useful for both single
and group study.  Can anyone out there who plays or has played the flute comment
or recommend self-study materials?  This particular book is almost entirely
exercises.
	Last question - did I get a good deal on this?  The person I bought
it from said it had a couple of bad valve pads, but I haven't noticed them.
I'm inclined to feel extremely happy about the whole thing.

Cliff

Newsgroups: rec.music.classical
From: dvf@kepler.unh.edu (David V Feldman)
Subject: Re: Wedding music suggestions?
Organization: University of New Hampshire  -  Durham, NH
Date: Sun, 16 Aug 1992 19:11:34 GMT

In article <1992Aug16.144811.9375@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:
>In article <1992Aug16.052309.15315@oct17.dfe.dec.com> chaban@fortsc.enet.dec.com (Ed Chaban) writes:
>>
>>My new wife bought the "Martha Stewart Wedding Planner" (available at
>>K-Mart ;-))  For all the triteness, there are a number of good suggestions
>>in there.  We Used "Jesu Joy Of Man's Desiring" as a prelude and the infamous
>>Lohengrin Wedding March as a processional and Purcell's Trumpet Tune in D as
>>a postlude.  All of which were rendered on a tracker organ!
>
>I will never understand the use of the Lohengrin Wedding March.  As far
>as I can tell, this is only used in the US (people in Germany used to
>get a chuckle when seeing it in an American movie); and it's hopelessly
>insappropriate as soon as you know the source.
>
>After all, a) it's a recessional, and b) he leaves her almost
>immediately.
>
>Oh, and the Mendelssohn's a recessional, too.  
>
>I guess there's just something about life imitating art imitating life
>that people can't resist.  (I've even heard the two pieces performed in a
>sort of medley, with harmonic fumfering in between, at a wedding in a
>Conservative Jewish synagogue.  On the organ.)
>
>
>Roger

I have nothing to add to the complex subject of Jewish opinion of Wagner;
Mendelssohn however is often regarded as a native son, his grandfather
being among the most famous of Jewish philosophers, the intervening
conversions notwithstanding.

David Feldman
Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Stravinsky
Organization: Educational Computing Network
Date: Sat, 22 Aug 1992 16:29:25 GMT

In article <BtE51u.AGn@usenet.ucs.indiana.edu> jmwise@bronze.ucs.indiana.edu (Ms. Johanna Wise) writes:
>
>can somebody possibly tell me if there are any books
>by Stravinksy? I'm looking for the theoretical sorts...
>
>thanks for any help.
>J.

by Stravinsky:  he has a variety of books that were published with Craft
Mostly talking about music, and not so much theory. I.S. didn't like
doing that.
"Converstations with Stravinsky", "Memories and Commentaries",
"Expositions and Developments", "Dialogues and a Diary", "Theme and
Episodes", "Restrospectives and Conclusion", "Themes and Conclusions".
Most of them published by Doubleday.

for theory:

There is P.V. van den Toorn's "The Music Of Igor Stravinsky" (1983 Yale
University Press).

It has theoretical analysis of many of Stravinsky's works from each
period.  Lot's of musical examples.  

There also are some biographical details, and van den Toorn often
compares and contrasts other person's analysis.  So not only is it good
in itself, you will get a good bibliography to find more.

Jeff
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: JOHN CAGE
Organization: Camosun College
Date: Sat, 22 Aug 1992 00:32:02 GMT

In article <BtB4Hs.n47@quake.sylmar.ca.us>, brian@quake.sylmar.ca.us (Brian K. Yoder) writes:
> In article <Dw5PPB2w164w@sys6626.bison.mb.ca> al@sys6626.bison.mb.ca (Haus Der Luge) writes:
>>It struck me recently that those who have been most nasty and rude 
>>towards John Cage's music (a lot of them have, of course, come out of the 
>>woodwork since his untimely death) ... are the people who need his music 
>>the most.
> 
> I suppose I am the kind of "nasty and rude" person you are talking about.
> For what end do you think I "need" cage?  In order to become more bored?
> More pretentious?  To discover that music isn't anything in particular?
  ^^^^^^^^^^^^^^^^^
Is this possible?

-- 
===============================================================
|Deryk Barker Computer Science Dept.  | Without music life    |
|Camosun College, Victoria, BC	      | would be a mistake    |
|Canada 			      | (Friedrich Nietsche). |
===============================================================
Newsgroups: rec.music.classical
From: breeze@well.sf.ca.us (Jeff Baust)
Subject: Re: Wanted: A crash course in composer's styles
Organization: Whole Earth 'Lectronic Link
Date: Sat, 15 Aug 1992 02:54:11 GMT





Starting with Rosen's _The Classical Style_ makes no sense at all.  Have
a look at a standard undergraduate textbook, such as Grout's History of
Western Music.  This way you'll know who sits where.  There are also
collections of tapes which are meant to be used with these books (the
MAchlis book is also good) to give the student an earful of each slice
of music history.  The Rosen comes later, to help explain why Brahms
seems more akin to Beethoven & Haydn than does Berlioz, despite their
chronology.      :)

No substitute for listening, tho'!


Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: a Monteverdi query
Organization: Morgan Stanley & Co., New York, NY
Date: Fri, 14 Aug 1992 21:41:30 GMT

In article <Bszsqn.Ko@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <14AUG199211431096@eccles.caltech.edu> inr@eccles.caltech.edu (I. Neill Reid) writes:
>
>>on the 400th anniversary of Monteverdi's birth (1967 - although
>>this would have been very much towards the end of Cuenod's career); 
>>the disc is dated 1989 (obviously impossible) 
>
>1967 is by no means near the end of Cuenod's career.  He made his Met
>debut in 1987 (? around then anyway), as the Emperor in their new
>production of Turandot.  Did he die between then and 1989?

I saw him in this performance.  He looked (and sounded) fragile.
But it was an inspired bit of casting.

>
>Jon Alan Conrad
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: John Cage rest in Silence
Organization: University of Western Australia
Date: Thu, 13 Aug 1992 04:08:04 GMT


The name says it all...

The man who re-invented Samuel Marchbanks Fairy Piano passed away today
according to Radio National...

Please nothing more about 3-33.

De mortuis nil nisi bonum (that goes for Orff too).
Newsgroups: rec.music.classical
From: chaban@fortsc.enet.dec.com (Ed Chaban)
Subject: Re: Wedding music suggestions?
Organization: Digital Equipment Corporation
Date: 15 AUG 92 22:15:02 PST


My new wife bought the "Martha Stewart Wedding Planner" (available at
K-Mart ;-))  For all the triteness, there are a number of good suggestions
in there.  We Used "Jesu Joy Of Man's Desiring" as a prelude and the infamous
Lohengrin Wedding March as a processional and Purcell's Trumpet Tune in D as
a postlude.  All of which were rendered on a tracker organ!

Good luck, and best wishes!

-Ed


S
Newsgroups: rec.music.classical