HDTenEightyP/NetNews huggingface dataset:
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: London Philharmonic Orchestra
Organization: University of Delaware
Date: Thu, 1 Oct 1992 20:48:59 GMT

In article <+5-p#ck@lynx.unm.edu> lundgren@vesta.unm.edu (Chad Lundgren) writes:

>Hello.  I'm writing a story which has the London Philharmonic Orchestra
>as one setting.  I would like to know more about this.  Could anybody
>recommend books on the subject or describe the concert hall in detail?

It sounds like you need to do a lot more research for your story; first
of all, the orchestra does not play in any single hall, and it may well
record, rehearse, and perform in different halls.

>Also, I've heard from reliable sources that the London orchestra is
>run by the musicians.  Can anybody confirm this?  

I know the London Symphony is; not sure about the Phil.  There is also
more than one way of doing this.  There's a book about the London
Symphony, with interviews with the players.  Sorry, I don't recall the
title; can you do a keyword search in your library's catalog?

>Also, what is the
>relation of the London Symphony Orchestra to the Philharmonic, or are
>they two different names for the same orchestra?

Definitely NOT the same orchestra, though it's conceivable for a player
from one to fill in as a sub on a particular concert of another.  London
has 5 fulltime concert orchestras:
London Symphony
London Philharmonic
Royal Philharmonic
Philharmonia
BBC Symphony

and then there are opera orchestras, chamber orchestras, and the
National Philharmonic which exists only for recordings.  The London
orchestral musician's life is a constant scramble from gig to gig,
across the city in all sorts of different locations.

>As an interesting side note, I extrapolate that in the future, Europe will
>have a stranglehold on all the top notch and innovative orchestras because 
>the U.S. government does not help the symphonies nearly as much as European
>governments seem to.

There's some merit in what you say; the thing is, this has been equally
true for decades now.  The question is how far in the "future" you are
talking about.  Perhaps orchestras will fade away altogether before this
process reaches its logical conclusion!

Jon Alan Conrad
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Who's driving this performance, anyway?
Organization: University of Delaware
Date: Fri, 2 Oct 1992 14:08:33 GMT

In article <1992Oct01.233226.11063@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:

>In article <92274.213641KSSHC@CUNYVM.BITNET> Ken Sherrill
><KSSHC@CUNYVM.BITNET> writes:

>>Intentionally or not, Jon Alan Conrad's comments on the Milanov/Bjoerling Ballo
>>and the rise of conductor-driven (as opposed to star-driven) performances
>>should start a considerable thread. Which is the lesser evil? Which is the
>>greater event?

>It strikes me that you might get different answers from singers, conductors
>and the audience.  

Maybe.  Or you might find that all three groups prefer it the way it is
now -- because that's the only way they're accustomed to.

>Also, Jon's generalization may be true as a generalization, but there were
>exceptions in the past as there are now.  Let's ask Toscanini's ghost about
>who was driving!  %^)

Well, of COURSE!  Who do you think started the change?  Who do you think
is the #1 name mentioned in the history books as the revolutionizer of
the role of the conductor in opera?  And why do you think he stood out
so much in his time?  That was my whole point.  He was not an
"exception" -- he was the one who created the dividing line between Then
and Now in this respect.

>On the other hand, I have heard a number of complete performances from the
>30's where it sounds like *nobody* is driving.  From time to time a star
>singer pulls things together, but a lot of time they are all over the map.
>I have often wondered whether singers and orchestra had trouble hearing
>each other at the old Met?

No, this was just the way it was done.  The stars did their thing (and
wonderful it coule be), and everyone else held together as best they
could -- which was sometimes not very much.  This is exactly what I was
talking about in my previous post.

Of course, not all performances were this helter-skelter.  There were
some strong conductors of the old supportive type in the Italian wing at
the Met (Serafin, Panizza), and sometimes in the German too -- we can
hear that the young Leinsdorf, for all his lacks, held things together
more strongly than his predecessors there in the 30s.  I add this
paragraph only because I didn't want to imply that conductors were
incompetents then; it was just a different attitude.  I wonder if we can
go *partway* back, or if this is the kind of thing that can happen only
naively, not by calculation.

Jon Alan Conrad
From: david@xlnt.com (David Johnson)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's 32nd sonata
Date: 5 Oct 92 22:24:35 GMT
Organization: XLNT Designs, Inc (XDI)

In article <1992Oct2.185116.21932@sarah.albany.edu>, pawel@tethys.ph.albany.edu writes:
|> In article <music.717983852@batman>, music@moravian.edu (Steve Heller) writes:
|> >I think the point was more that the music [Beethoven's sonata]
|> >"sounded jazzy/rag-like"
|> [...]
|> >-- 
|> >*-------------------------------------------------------------------------*
|> >#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
|> ># Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
|> >*-------------------------------------------------------------------------*
|> 
|>   If we want to be accurate and keep chronology in mind we should
|> rather say that certain ragtimes sound like Beethoven's sonata
|> (with all restrictions in mind) and not vice versa.  It is likely
|> that Scott Joplin heard Beethoven's music, but highly unlikely that
|> Beethoven heard any Joplin's ragtimes during his life :-).
|> 
|>   I doubt whether Beethoven heard any African music ....

A friend of Beethoven's who is mulatto had a reputation for being
a virtuoso violinist.  It is possible that this friend exposed him
to African music.  I am not saying that he did.  I am just pointing
out evidence that there is a non-zero probability that Beethoven
was exposed to African music.

-- 
David Johnson
XLNT Designs, Inc. (XDI)
david@xlnt.com
From: icking@gmd.de (Werner Icking)
Newsgroups: rec.music.classical
Subject: Re: Question for musicologists about Schumann
Date: 5 Oct 92 12:17:41 GMT
Organization: GMD, Sankt Augustin, Germany

In <67098@cup.portal.com> Bill_P_Pearce@cup.portal.com writes:

>[...]                                The author (writing in 1985) mentions
>that in the last ten years a great deal of information about Schumann has
>become available, including diaries and household books for nearly every
>day of his life from age seventeen.  [...]

Hey, you may write to
       Stadtbuecherei Bonn,
       Musikbuecherei,
       Sebastianstr. 182
       Schumannhaus             <-- there Schumann lived his last years.
       D 5300 Bonn
for some (further) information. It's a music-library, part of the "city"-
library. They have a Schumann "Gedenkzimmer" (Schumann memorial-room).

Werner
--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
Newsgroups: rec.music.classical
From: al21146@uxa.cso.uiuc.edu (Richard Feynman Albert Li )
Subject: Re: Mahler 9 (was Re:Mahler 1)
Organization: University of Illinois at Urbana
Date: Sun, 4 Oct 1992 04:08:34 GMT

  How about the three versions by Bernstein? 1.with NYP 2.with Amsterdam
3. with BPO(a new release)

al

Newsgroups: rec.music.classical
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Re: Orchestras/conductors
Organization: University of Virginia
Date: Thu, 1 Oct 1992 20:11:57 GMT


IN AN attempt to kill this thread, let me give you one simple title:

MUSICAL AMERICA INTERNATIONAL DIRECTORY OF THE PERFORMING ARTS
issn 0735-7788

It costs $75, so i wouldnt expect you to rush out and buy one. however, your
local university library is highly likely to have a copy. It has EVERYTHING--
orchestras, opera companies, individual performers (feel like writing Yo-yto
ma a letter? this book has his business address), etc.

So, instead of posting stuff like this, call your library, and youll get
more complete, accurate info than the net. And if theres no library near
you, email me (rwd4f@poe.acc.virginia.edu) is you want something out
of this (or any other major music reference book)....
r

Newsgroups: rec.music.classical
From: tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker Lab,54810,2720402)
Subject: Re: recordings of Bach's Cantatas: recommendations wanted
Originator: tan@msc2.msc.cornell.edu
Organization: Cornell-Materials-Science-Center
Date: Sat, 26 Sep 1992 18:01:45 GMT

From article <27990094@otter.hpl.hp.com>, by sec@otter.hpl.hp.com (Simon Crouch):
> In rec.music.classical, Marco Simionato <simion@iveuncc.unive.it> writes:
> 
>> I would like to know which are considered the best versions of Bach's
>> Cantatas and if they are availbale on CD. What counts to me is not the
> 
> I asked (approximately) this question a while ago - to save peoples
> energy, here's the summary of responses that I got then:
> 
> Simon.
> 
[summary deleted]

I might also add S.21, "Ich hatte viel Bekummernis", a rather weighty cantata
with some really gorgeous movements (can anyone recommend any recordings of
this?  I can only find the Harnoncourt and Rifkin, one of which I find gutless,
the other willful.)

S.51 with Edith Mathis and Karl Richter is good; Mathis simply sparkles
in this Arkhiv recording.

There is another which I sadly cannot remember.  I only know that it is a
duet for soprano and bass, and that the final movement is a soaring soprano
cantus firmus over bass figurations, of such unwordly beauty that I felt 
myself levitating towards the stage.  Anyone recognize this cantata?


Dave

Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: Misuse (was Re: Playability (was Re: Alkan trivia))
Date: Tue, 29 Sep 92 11:07:23 EDT

In <1992Sep29.020519.13700@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:


>In article <1a6d84INN4ih@uniwa.uwa.edu.au>, diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>|> Satie's gymnopedies misused - how could I forget -
>|> 	 -Blood Sweat and Tears version (on same record as WSOP, I believe)
>|> 	
>Misuse? You think so? I always thought the guitar and flute was a rather
>nice rendition. Oh well.
I agree, and also am glad BS&T did this as it helped me become
familiar with Satie in general, as I'm sure it did with a lot of
people, especially at the time the album came out (c.1970?).

>However, a REALLY nauseating misuse is some MUZAK station in either N.Y.
>or Boston, which has a transmogrification of a fragment of Debussy's "Girl 
>with the Flaxen Hair" played on an electronically processed harp. Yikes! 

Yes, I've heard this one, and also a deranged MUZAK version of
Albinoni's Adagio, Pachabel's Canon and numerous other beautiful
classics. Why is it that some people just HAVE to butcher and
trivialize fine art in the name of "popularism"?
-- 
*-------------------------------------------------------------------------*
#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
From: rwilmer@zinka.mitre.org (R. Wilmer)
Subject: Re: Speaking of leitmotifs
Organization: Mitre Corporation, McLean, VA
Date: Mon, 28 Sep 1992 16:04:33 GMT

In article <BvAJBL.Crv@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <320@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
>
>>There is a sweeping, dramatic theme, if not leitmotif in Die Walkure which
>>reappears during Brunnhilde's Immolation aria that's always struck me for some
>>reason. 
>
>>But I can't see what is the connection, if there is any. 
>
>You're not the only one.  Bernard Shaw (in The Perfect Wagnerite) simply
>said there was none, and Wagner was hauling out the gushiest cheapest
>phrase in the whole cycle, in order to give people a good cry at the
>end.  But then he was an antiromantic.
>
>The best explanation I've seen (I forget where I read it) is that it
>carries the connotation of "Life will go on after me."  In Walkeure, it
>expresses Sieglinde's joy at learning that she is carrying Siegmund's
>child, and despite his death he is leaving a legacy for the future.

There is the Siegfried connection--Siegfried's mother and lover
expressing their strongest feelings for Siegfried.  Brunnhilde
begins that theme to the words ``Fuhl meine Brust auch'' and
then exclaims ``Siegfried, mein seliger held''.

You could look at that theme as a cycle of motherhood, love,
and death:  Sieglinde's joy of having the child within her (being at
one with it) and knowing that she will give birth (thereby
separating) and then tying it back at the end of the Ring cycle
in another union--this time a kind of Liebestod Brunnhilde
is singing about Siegfried whom she is joining again.

I think Shaw's cynical explaination is overly dry, detached,
and intellectual.  I would say that this theme which indeed
has the power to ``carry away'' an audience springs from
an inspiration that authentically integrates the story
of the Walkure and the Walsungs.

Richard

Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Anyone heard of this piece?
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 29 Sep 1992 13:02:33 GMT

In article <1992Sep28.131600.9072@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
>In article <1992Sep22.223549.1596@TorreyPinesCA.ncr.com>, lms@TorreyPinesCA.ncr.com (Max Stern 310-524-6152) writes:
>> In article <15180@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike
>> Quigley) writes:
>>>Didn't Ernst Toch write something like this? I think he did a piece called the
>>>Geographical Fugue which had excerpts from a road map...

>> The Geographical Fugue is a piece for six (if I remember correctly)
>> voices, who recite (in German) the names of various geographical
>> locations like "der Fluss Mississippi," Brindisi, etc.  It is entirely
>> spoken, so the main musical elements are rhythm, counterpoint,
>> dynamics, and form.

>It's only four voices (presented as SATB), and the version I've heard was in
>English. (I have a feeling---but it is only a feeling---that Toch was American,
>by naturalisation if not by birth.) The fugue subject is "Trinidad. And the big
>Mississippi and the town Honolulu and the lake Titicaca. The Popocateptl is not
>in Canada, rather in Mexico Mexico Mexico." It's great fun to do, but is
>extremely difficult to keep together, unless you have four very experienced
>singers performing it.

Toch was German by birth, and emigrated.  The piece was originally in 
German, as was a Waltz he had to reconstruct from memory after emigration.
I've done both, the Fugue in both languages.

Notice that "The town Honolulu" is not idiomatic English.  But

"RATIBOR!  Und der Fluss Mississippi und die Stadt Honolulu und der
See Titicaca"

is.

Ratibor?  A medium-sized town in Upper Silesia.  Very funny in a German
context back then -- imagine a choir getting on stage and shouting
KALAMAZOO!  in your face.

The two surviving pieces were part of a suite called "Gesprochene Musik."
I don't know whether any other numbers have been recovered.

Roger
From: kz08+@andrew.cmu.edu (Ken Zuroski)
Newsgroups: rec.music.classical
Subject: Berceuse?
Date: 28 Sep 92 00:28:33 GMT
Organization: Doctoral student, English, Carnegie Mellon, Pittsburgh, PA


Hi:

While listening to the radio, I heard a haunting melody that I liked. The
commentator said it was an electronic version of Stravinsky's Berceuse.
I thought: great, I'll buy a copy of the classical version. 

What's the deal? I can find Chopin's Berceuse listed in my online CD
database, but not Stravinsky's. It must be part of a larger work?  

Thanks for any info--

Ken

---
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ken Zuroski
Department of English
Carnegie Mellon University
Pittsburgh, PA 15213 USA
kz08@cmu.edu
~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: London Philharmonic Orchestra
Date: 5 Oct 92 10:06:25 GMT
Organization: St. Andrews University, Scotland.

>war. The LSO was founded in 1904 by players from another orchestra
>(which one anybody?) whose conductor was cracking down on the 'deputy
>system', whereby all a player had to do was ensure that his (usually

I think it was the Queens Hall Orchestra.
gavin ramsay
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: BEST Mendelssohn flat E major Octet ?
Date: 4 Oct 92 14:17:39 GMT
Article-I.D.: Princeto.1992Oct4.141739.16308
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Oct3.141918.12857@highlite.uucp> alan@highlite.uucp (Alan McConnell) writes:
>roger@crux.Princeton.EDU (Roger Lustig) writes:

>>In article <1992Oct1.140430.27590@debbie.cc.nctu.edu.tw> cp78047@csie.nctu.edu.tw () writes:
>>>Please tell me what is the BEst Buy CD for The Masterpiece:
>>>Mendelssohn : STring Octet in E flat Major.?

>>The old I Musici wasn't bad at all.  I haven't heard many new ones.

>>Has anyone recorded the unrevised version (i.e., after the autograph)?

>     Good heavens!     How does the autograph differ from the Peters parts?

Mendelssohn wrote the Octet at age 16 -- my pick for the greatest piece
ever written by a 16-year-old.  Some years later he prepared it for
publication and changed some things around.  You can (or used to could)
buy a facsimile of the autograph from the GPO, the original being in the
Library of Congress. It was pretty cheap, as I recall, too.  

In short, the Peters parts reflect his final wishes -- the autograph,
his ideas at 16.  

Roger
Newsgroups: rec.music.classical
From: saiki@mpg.phys.hawaii.edu (L. Saiki)
Subject: Vivaldi
Keywords: question
Organization: University of Hawaii, Dept. of Physics & Astronomy
Date: Sun, 27 Sep 1992 17:07:55 GMT

Hello!! =)

I purchased Vivaldi's L'Europa Galante [with Fabio Biondi directing]
CD two months ago and thoroughly love it!!  It was recorded in Italy
and produced in France.  I love string and harpsichord music; 
especially if it is played in minor keys.  

I would very much like recommendations for CD's that have a similar
flavor.  =)

Thanks!!
:)
lauri

-- 
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
     The end!					 L. Saiki	
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Harp instruction
Organization: pubs
Date: 5 Oct 92 11:38:09 CDT


My daughter has decided to play harp.  (She just had to pick something
expensive that we don't already own.)  She'll be starting with a
Lyon-Healy Troubadour (non-pedal).  I'd like to hear anyone's
accumulated wisdom on this subject--either players or parents of
students (or anyone else).

Chris Brewster
cb@cray.com
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: news
Date: 26 Sep 1992 12:25:24 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Chris Brewster (cb@tamarack13.timbuk) wrote:
: Diarmuid Pigott writes:
:    I have a recording of M's C for marimba made a long time ago (on a 78) -
:    (I have a worse arrangement on a record called "Sounds like popcorn" 
: Is the second one you mention also a 78?  (The medium is the message.)

Sadly no... Though I did remember after I posted that a friend has a
broadcast disc (ex US Army - the 24 inch 78's) with the Czardas played
by a banjo. So perhaps that should get the accolade. 

Or has Ms. Glennie performed it?


Newsgroups: rec.music.classical
From: ronthal-adam@CS.YALE.EDU (Adam Ronthal)
Subject: Music for Horn and Violin?
Organization: Yale University Computer Science Dept., New Haven, CT 06520-2158
Date: Sun, 4 Oct 1992 23:45:53 GMT

Anyone out there know of any good chamber music for French Horn and Violin?
I'm not looking for anything with other instruments as well, for example the
Brahms Horn Trio, but only Horn and Violin. 

Thanks!
--
Adam Ronthal 			e-mail: ronthal-adam@yale.edu
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: BEST Mendelssohn flat E major Octet ?
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Thu, 1 Oct 1992 18:07:03 GMT

In article <1992Oct1.140430.27590@debbie.cc.nctu.edu.tw> cp78047@csie.nctu.edu.tw () writes:
>Please tell me what is the BEst Buy CD for The Masterpiece:
>Mendelssohn : STring Octet in E flat Major.?

The old I Musici wasn't bad at all.  I haven't heard many new ones.

Has anyone recorded the unrevised version (i.e., after the autograph)?

Roger
From: vshen@cns.neusc.bcm.tmc.edu (N. Vivienne Shen)
Newsgroups: rec.music.classical
Subject: Music for string quartet and french horn
Date: 6 Oct 1992 21:31:01 GMT
Organization: Baylor College of Medicine, Houston, Tx
Distribution: world
Reply-To: vshen@cns.neusc.bcm.tmc.edu (N. Vivienne Shen)
NNTP-Posting-Host: cns.neusc.bcm.tmc.edu
Originator: vshen@cns.neusc.bcm.tmc.edu



Hi, I've been involved in a chamber group consisting
of a string quartet and french horn. Currently, we have
been playing quintets by Hoffmeister and Reicha. I was
wondering if there are any other quintets for this group
combination?

If you have any suggestions, please email me at

vshen@cephalo.neusc.bcm.tmc.edu

Thanks in advance!
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Mahler 9 (was Re:Mahler 1)
Date: 5 Oct 92 17:54:43 GMT
Article-I.D.: tamarack.CB.92Oct5125439
	<1992Oct2.022221.5496@cucs5.cs.cuhk.hk> <459QBRRW@cc.swarthmore.edu>
	<1992Oct2.205133.6116@spang.Camosun.BC.CA> <ld0kr7INNgob@news.bbn.com>
	<MARCA.92Oct5112242@wintermute.ncsa.uiuc.edu>
Organization: pubs
In-reply-to: marca@ncsa.uiuc.edu's message of Mon, 5 Oct 1992 16:22:42 GMT

Jonathan Delatizky:
      Deryk - perhaps you'd like to post a list of Horenstein recordings
      (not just of Mahler) that are recommendable.

Marc Andreessen:
   Dvorak's 9th and Wagner's Siegfried Idyll & Flying Dutchman on
   Chesky... yow!

Nielsen 5 ... ditto.

Chris Brewster
cb@cray.com
From: pfister@sicsun.epfl.ch (Markus PFISTER)
Newsgroups: rec.music.classical
Subject: Re: Orchestras/conductors
Date: 4 Oct 92 14:15:45 GMT
Organization: Ecole Polytechnique Federale de Lausanne

>European Orchestras:
>1.   Berlin Phil         Abbado
>2.   Vienna Phil         ?
Isn't Claudio Abbado also the Musical Director of the Vienna Phil?
>3.   London Symphony
>4.   London Phil         Franz W. Most
>5.   Royal Phil
>6.   Dresden Staatkapellen
>7.   Concertgebouw       Chailly
>8.   Suisse Romaunde
>9.   any others ?

London Symphony Orchestra       Michael Tilson Thomas
Royal Phil                      (still ?) V. Ashkenazy
Philharmonia Orchestra          Sinopoli
Dresdner Staatskapelle             "     (also ?)
Orchestre de la Suisse Romande  Armin Jordan
Orchestre National de France    Charles Dutoit
M"unchner Philharmoniker        Sergiu Celibidache
City of Birmingham Symphony Or. Simon Rattle

and all the others ...

------

   Markus Pfister
   pfister@eldp.epfl.ch
Newsgroups: rec.music.classical