HDTenEightyP/NetNews huggingface dataset:
From: jaeger@buphy.bu.edu (Gregg Jaeger)
Newsgroups: rec.music.classical
Subject: _The Low Symphony_ (Glass/Bowie/Eno)!
Date: 21 Nov 92 18:31:59 GMT
Organization: Boston University Physics Department

In Tower Records' _Pulse!_ magazine it is reported (Nov. '92 issue):

On Nov. 13th and 14th the Brooklyn Academy of Music's Next Wave Festival
will present the world premiere of Philip Glass' latest work, _The Low
Symphony_. The symphony is based on three David Bowie/Brian Eno
compositions, "Subterraneans," "Warzawa" and "Some Are," from Bowie's
landmark album _Low_ -- the first of a trilogy of German minimalist-
influenced recordings he made with Eno in Berlin in the late '70s.
At presstime Glass had just completed recording _The Low Symphony_
in NYC with the Brooklyn Philharmonic Orchestra under the direction
of Dennis Russell Davies. Look for the recording, made with "complete
cooperation" from Bowie and Eno and produced by longtime Glass
collaborator Kurt Munkacsi, to be released on the Point Music Label
in early '93.

-- end excerpt

Hallelujah!

Gregg

-- 
Gregg Jaeger (jaeger@buphy)  Dept. of Physics (and Philosophy), Boston Univ.
"You see, the quantum mechanical description is in terms of knowledge" -Peierls
"One can _not_ put the psi-function... in place of the... thing" -Schroedinger
                "You may _not_ touch my monkey" -Dieter
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: re: Chopin Ballades
Organization: Visual
Date: Mon, 16 Nov 92 19:46:24 GMT

My own "dark horse" candidate: Garrick Ohlsson on Arabeske.  He is presently
recording the complete Chopin for the label.  His Scherzo set is due
any week now.  After hearing the Ballades, I can't wait.

Alternatively, maybe someday Connoisseur Society will reissue Moravec's
recordings from the 70's (generally the same sessions as his superlative
Nocturnes.)  These remain the finest I've ever heard.

Rob


Newsgroups: rec.music.classical
From: johnme@ecs.comm.mot.com (John Meyer)
Subject: Re: Brahms Violin Concerto
Organization: pcb_design
Date: Tue, 17 Nov 1992 11:57:23 GMT

In article <1992Nov16.220857.7299@msc.cornell.edu> tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker Lab,54810,2720402) writes:
>
>Ginette Neveu, if you can find it.  Incandescent, white-hot, incredibly 
>intense all come to mind (not to mention passionate) in trying to describe
>it; listening to it is a searing experience.
>
>The "if" is unfortunately a huge "if."  I asked around on the net a couple
>of months (?) ago for this (and her Sibelius concerto.)  EMI had it in print
>last year, but when I asked various CD stores, they all told me that it was
>no longer in print.  It took me years of keeping an eye out to find an LP,
>but that was years ago.
>
>Aaargh!  What to do?
>

DAVE;

Acording to the schwann (opus) guide.  G. Neveu,Schmidt-Isserstedt,North German RSO
  do the concerto on the ACANTA label CD-43314  DDD
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico (David G. Wong - VIP user)
Subject: Re: Bad Brahms (Was Re: Brahms symphonies question)
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Mon, 16 Nov 1992 23:32:50 GMT

In article 721572557@gsusgi1.gsu.edu, librdb@gsusgi2.gsu.edu (Roy D. Berridge) writes:
> I know this will anger a lot of people, but am I the only one who thinks
> that just about all Brahms is bad?  Yes, I've heard almost everything he's
> written, and yes more than once.  I'm not trying to convert anyone, I just
> want to know if there are others who feel the same way.             
>
> Roy Berridge

No, I am sure you wouldn't be the only one.  Just ask the same question when you 
attend your next heavy metal or rock  concert!  But I am also open to hear your 
suggestion on something that is not as "BAD" as Brahms.


defender for Brahms - the philosophical composer!
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Music to calm down by
Organization: Open Software Foundation
Date: Mon, 23 Nov 1992 16:26:23 GMT

jwa@vipunen.hut.fi (Jyrki J Wahlstedt) writes:
|>   I do not want to argue about what you really need, but after having
|>   read a host of messages on the subject, I came to think that it might
|>   not be exactly soothing music or music that has a calming effect that
|>   would be best to relive that stress of yours.

Yes.  I originated the comment about classical music being about
tension, but I've been thinking some more about the problem.  That
relates to the kind of stress you suffer when driving into Boston in the
Turnpike on a wet Monday morning: in that case you don't want it
magnified by simultaneous audio churning.

However, in the given case, I believe what you need is something to
engage your attention overtly, draw you unresisting into its world,
persuade you you're a perfectly wonderful person and there is great
goodness in here and out there, and leave you in peace.

Along those lines, a few that randomly occurred to me: Mahler's 4th
symphony, Elgar's 2nd, Copland's Appalachian Spring, Respighi's
Fountains of Rome.
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Allberall und ewig blauen licht die Fernen!  Ewig... ewig... ewig...
Newsgroups: rec.music.classical
From: an405_arca@hg.uleth.ca
Subject: Excursion hunting
Reply-To: an405_arca@hg.uleth.ca
Organization: University of Lethbridge
Date: Fri, 20 Nov 1992 17:58:02 GMT

Are there any recordings out there of "Excursions for the piano, Op. 20"
by Samuel Barber?  I learned # 1,2 and 4 last year and would like to hear
other interpretations of this work.
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Varese influenced by Webern???
Organization: University of Western Ontario
Date: Wed, 18 Nov 1992 23:04:03 GMT

please explain. I would think they are rather opposed.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: dci@cs.washington.edu (Donald Chinn)
Newsgroups: rec.music.classical
Subject: Re: Pictures at an Exhibition
Date: 20 Nov 92 22:37:21 GMT
Organization: Computer Science & Engineering, U. of Washington, Seattle

In article <1992Nov20.175201.22019@honte.uleth.ca> an405_arca@hg.uleth.ca writes:
>Pictures at an Exhibition was composed by Russian composer Modest 
>Mussorgsky.  There are to versions of this work- the original 
>version was written for piano.  I believe that it was Rimsky-Korsakov
>who orchestrated "Pictures" for orchestra.  Unfortunately, I do not know
>of any good recordings and would also like to know what people suggest,
>as I am also looking for a recording of this.

No doubt there will be millions of posts with this small correction:
it was Ravel who arranged "Pictures" for orchestra.

-- Donald
Newsgroups: rec.music.classical
From: tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker Lab,54810,2720402)
Subject: Re: Messiah recommendations? (probably seasonal FAQ)
Originator: tan@msc2.msc.cornell.edu
Organization: Cornell-Materials-Science-Center
Date: Sat, 21 Nov 1992 21:34:54 GMT

From article <1992Nov20.181214.27569@Rapnet.Sanders.Lockheed.Com>, by mlaird@Rapnet.Sanders.Lockheed.Com (Michael D. Laird):
> I'd like to get a CD set of the complete Messiah by Handel, but before I
> do, I'd like to solicit some recommendations from the net.  
> 
> I've heard several performances that range from the 1000 voice choir and
> significantly beefed-up orchestra style, to more historically accurate
> performances with period instruments.  Since I don't want to start any 
> arguments over which is "better", I'd like to get some recommendations
> that fall into both categories.  While I prefer DDD recordings over
> older analog ones, the performance itself is most important (assuming
> that it isn't drowned out by tape hiss or something :-) ).
> 
he 1967 Colin Davis/LSO.  No musicohistorical axes to grind, no elephantine
"let's impress them with THIS," just beautifully, straightforwardly sung.
Davis lets the music speak for itself, the alto (Helen Watts?) is a real
alto (so crucial to this work.)  The energy and hair-trigger precision of
the LSO here, yet never overbearing, is just as important as the singing
(listen to the orchestra in "Refiner's Fire", and "Surely".)  The soloists
are all quite fine, and more than most, it tells a story; it's not just a
collection of extraordinarily inspired numbers.

Do NOT get the 1981 remake.  It hasn't the energy, the drive, the 
conviction of the 67 (and Hannah Schwartz is more "owl-to" than alto.)

I also have (and like) the Gardiner.  It's quite good; more intimate, less
powerful than the Davis.  Gardiner, of course, uses a countertenor, a voice
I just cannot get to like.  As for other DDD recordings I've heard, I find
the Hogwood serviceable (which is more than I can say for most of the rest
of his stuff,) the Parrott competent enough but uninspired.


Dave
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: Re: The worst composer ever
Date: 23 Nov 1992 21:46 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

In article <1eri3oINNrom@usenet.INS.CWRU.Edu>, ca572@cleveland.Freenet.Edu (Mark L. Stackpole) writes...
> 
>	Not exactly "The worst", but certainly a front-line composer
> whose music is the most dull, awkward and tedious I have ever
> heard.
>	Hector Berlioz.

Someone, obviously, who has never heard "Les Nuits d'ete" - or the
Damnation of Faust perhaps, or etc etc .

 Since this is more a means of expressing personal dislikes than
anything else, how about Richard Strauss as the composer whose music
spans the widest range of (subjective) "quality" - from the 
serenity of the Four Last Songs to the pomposity, self-importance
and banality of the Sinfonia Domestica and the Alpine Symphony.
Also gets the composer's Pratt of the Millenium award 

 Neill Reid - inr@eccles.caltech.edu
Newsgroups: rec.music.classical
From: clonij@rs6305.ecs.rpi.edu (John Paul Cloninger)
Subject: Wind ensemble recordings
Reply-To: clonij@rpi.edu
Organization: Rensselaer Polytechnic Institute, Troy, NY.
Date: Mon, 16 Nov 1992 03:34:35 GMT

Thanks to Mr. Wyble!  I have killed the offending message.

Anyway, does anyone know of any suppliers of Fennell-type wind ensemble
recordings? CDs preferably.

Thanks.
Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: Pictures at an Exhibition
Organization: Helsinki University of Technology, Finland
	<1992Nov20.223721.1789@beaver.cs.washington.edu>
	<By2u0r.BnC.2@cs.cmu.edu>
Date: 23 Nov 92 03:00:42

In article <By2u0r.BnC.2@cs.cmu.edu> jdg+@CS.CMU.EDU (John Greiner) writes:

>As noted, Ravel arranged the familiar orchestral version.  However, there's
>a BIS disc that had a completely different orchestral arrangement done by some
>Scandanavian composer around the same time.

  That's CD-325 (BIS catalogue number). The orchestration is by Leo Funtek,
  who was more a conductor than a composer. It is not so colourful as Ravel's
  but perhaps more like Mussorgsky. On the same disc there are also "Songs &
  Dances of Death" sung by late Martti Talvela. The performance is really
  powerful, though what I've heard, the recording was in very great haste
  and was not too good technically. The orchestration of the songs was made
  by a Finnish composer Kalevi Aho at the request of Martti Talvela.
  (He sang these songs also in one of last concerts here in Finland. Later
  I saw the same concert in TV and it was really odd to see, how fragile he
  somehow seemed to be.)
--
!
!	Jyrki Wahlstedt
!		Jyrki.Wahlstedt@hut.fi
!
!  Our life is no dream, but it should and will perhaps become one.
!
Newsgroups: rec.music.classical
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Re: How to buy a grand piano
Organization: Mail to News Gateway at Wang Labs
Date: Wed, 18 Nov 1992 16:52:03 GMT

As requested, here is one of the recent postings:

Regarding the discussion about how to buy a grand piano,
I checked with leading Boston pianist, voice teacher,
and opera coach Bradley Pennington of the Boston Conservatory.
Bradley bought his own 1872 Boston Chickering grand piano from
Tremont Piano in Boston a number of years ago.  (He indicated
that he believes the owner, Joe Pagano, is the finest
piano rebuilder on the East Coast.)  Bradley had the pin block,
sound board, and strings all replaced, as the original piano did
not have the most brilliant tones.  The piano has held perfect
tone for quite a while now.  It is an antique that cannot be
replaced.  This was the largest piano built at that time.

In general, Bradley indicates that grand pianos built before
1940 are more reliable.  In addition, they are nicer for the
decor.  He thinks it is better to invest the same amount of money
in a pre-1940 instrument rather than a new one.  Some modern
pianos are even built with teflon parts for cost cutting, he
pointed out, possibly causing sound problems.

Based on his experience of some 25 years ago, he would be
reluctant to buy a Japanese piano.  However, he indicates he
would expect that the quality has improved since then.  In general,
he thinks European piano craftsmenship is better than that of the
Far East.  He mentioned German pianos costing in the range of
$40,000 to $50,000 as being particularly good.

Bradley primarily uses his grand piano with his students.  He
prepares them for opera, oratorio, and musical theatre.  He
teaches the classical Italian methods, such as the way Pavarotti
sings, for example.

People wishing further information can call him at 617-247-3087
or write him at 14 Braddock Park, Boston, MA 02116.

Michael.Willett@OFFICE.Wang.com
From: jhahn@gibbs.oit.unc.edu (Jim Hahn)
Newsgroups: rec.music.classical
Subject: Re: Brahms Violin Concerto
Date: 18 Nov 92 16:29:30 GMT
Organization: Health Policy & Admin, UNC-Chapel Hill
X-Xxmessage-Id: <A72FDC679401A4B0@thebit.sph.unc.edu>
X-Xxdate: Wed, 18 Nov 92 11:41:27 GMT
X-Useragent: Nuntius v1.1.1d12

[ several references to performances of the Brahms Violin Concerto by
  Stern, Perlman, Salerno Sonnenberg, Mutter, Krebbers, and Heifetz
  omitted ]
  
Having heard all the above with the exception of Krebbers, I would say the
performance by Szeryng is still my favorite. Wonderfully heartfelt and 
technically exquisite. For what it's worth, I believe it won the Grand
Prix
du Disque when it was first released (can't remember the year).

Jim Hahn
Newsgroups: rec.music.classical
From: sweaver3@mach1.wlu.ca (scott weaver 9209 U)
Subject: Re: Tubas (was Re: Euphoniums (was: Tubas))
Organization: Wilfrid Laurier University
Date: Fri, 20 Nov 1992 18:42:06 GMT

In article <DBROOKS.92Nov18231921@penge.osf.org> dbrooks@penge.osf.org (David Brooks) writes:
>jim@fuji.eng.yale.edu (James J. Szinger) writes:
>
>> I still think that 'euphonia' is more euphemistic.  By the way,
>> what the plural of 'tuba'?  'Tubae'?
>
>The Italian plural, Tube.  Surprisingly, the tuba is one of the few
>feminine instruments -- um, perhaps it isn't so surprising, considering its
 ^^^^^^^^^^^^^^^^^^^^
In French, it's 'le tuba' (i.e. masculine)

>David Brooks					dbrooks@osf.org
>Open Software Foundation			uunet!osf.org!dbrooks
>Allberall und ewig blauen licht die Fernen!  Ewig... ewig... earwig... O!

-- 
Scott B. Weaver		Internet: sweaver3@mach1.wlu.ca
"Dream Weaver"		UUCP: ...!torn!watserv2.uwaterloo.ca!mach1!sweaver3
Patience comes to 	Snail: 2C-264 Regina Street North
those who wait...	       Waterloo, Ontario, Canada N2J 3B7
Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Subject: Re: NEW THOUGHTS ON SUPERTITLING?
Organization: HAC - Johns Hopkins University, Baltimore
Date: Mon, 16 Nov 1992 19:43:36 GMT

In article <BxtI9r.DKq@usenet.ucs.indiana.edu> smitra@bronze.ucs.indiana.edu (Sami Mitra) writes:
>
>Unfortunately we had a couple sitting in front of us who
>insisted on laughing loudly through the performance. That in
>itself is fine. Falstaff is a lot of fun. But these guys
>were laughing not with the lines as they were delivered with
>the action on the stage, but with the supertitles! 
>In the supertitles, unavoidably, quite often the punch-lines
>are written slightly before they are actually delivered.
>So these guys were laughing and rolling out of synch
>througout. It was a bit like watching those 70's Kung Fu
>films with their incompetent dubbing!
>
>Are supertitles then a bad thing in operas when audience
>reactions are loudly expressed? Most comic ones that is.
>Or should we feel free to tap them on the shoulder and ask
>them to wait for the actual lines and action? I wonder if 
>the performers feel disoriented by this phase-lag?
>
>				Sami Mitra

I would say that is a small price to pay. What's the altenative?
the smirky cognoscenti chuckling to themselves at the appropriate 
times, and all others unfortunate enough not to know Italian/German/French
or the libretto by heart, sitting uncomfortably in their chairs, clueless?

I concede that asynchronous reactions from the audience can be 
disconcerting. I have seen several (often foreign) movies where people's
reactions were baffling to me, and sometimes annoying: they laughed
at random moments, or at very predictable times (this woman seemed to
think that Woody Allen was a scream, and screamed every time he 
appeared in Fog and Shadows).  But, apart from outlawing the audience
(Glenn Gould's proposal, in essence), I don't see a solution. Better
some audience reaction than none at all, that's what'll keep opera
embalmed for some time more.


-- 

	Francois Velde
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Re: Recomendations on Rachmaninoff's 2nd Concerto for Piano (Cm)?
Date: 15 Nov 92 15:11:49 GMT
Organization: Temple University
X-Newsreader: Tin 1.1 PL5

Christopher Colby (acid+@cs.cmu.edu) wrote:
: In article <1992Nov12.185056.14249@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
: >If you love unashamedly romantic, lyrical music then the SECOND SYMPHONY.
: >The best recording is undoubtedly by Previn (I think it's with the LSO)
: >but it may have been pulled. Definitely get a recording with NO CUTS from
: >the score.
: 
: This must be the RCA reissue.  I haven't heard it, but I have used to own
: the newer Previn/RoyalPO on Telarc.  I've heard the RCA Previn is good, but
: that the sound is really bad.  I don't agree with the "definitely no cuts"
: directive.  I think certain cuts make the piece more vital.  As for
: recordings, probably few would ever consider buying a Marriner performance
: if they saw it in the store.  In fact, it is surprisingly good -- my
: favorite performance so far, although there are many I haven't heard, I'm
: sure.  I sold my Previn/Telarc knowing I would never choose it over the
: Marriner.  Go figure.

THe reissue is on Angel, not RCA, and yes, the sound is shrill.  The Telarc
Previn with the Royal Philharmonic is my all-time favorite, but I've not
heard the Marriner.  I'd love to know how Previns' Telarc could possibly be
improved.  :-)

: >I think Howard Shelley recorded all the PRELUDES a few years ago. The
: >Preludes are simply the some of the best piano music ever written. Perhaps
: >someone can comment on the Shelley recording?
: 
: I wish I could, but the only complete set I've heard is the Ashkenazy --
: very good performances.

I have that set because it is "complete," but a much better (incomplete) set
for me is the Richter.  WOW!  The sound is also better, even though the 
recordings are older.

John
zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Music to calm down by
Date: 21 Nov 1992 08:39 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

 Each to his own, but I can no more imagine being soothed by
Vivaldi than by the chorus of a roomfull of typewriters (wasn't
that RV 416 in F minor anyway).

 Much has been made of the tension and release in classical
music - well, isn't exactly what you want to relax (not induce
asleep). The idea is to displace tension by absorbing your
interest/emotion, not switch off the brain. In that sense the
long slow-moving lines in some Renaissance polyphony (esp. requiems)
particularly effective. In fact, I find the Beethoven late 
quartets extremely relaxing (and re-vitalising) because they are
so absorbing and because of the sense of acceptance (not
resignation as somebody suggested in an earlier thread).

 Music doesn't have to be blaaaaand to have a relaxing effect.

 Neill Reid - inr@eccles

Newsgroups: rec.music.classical
From: smoliar@whitehead.iss.nus.sg (Stephen Smoliar)
Subject: Re: Florence Foster Jenkins
Reply-To: smoliar@iss.nus.sg (Stephen Smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Sat, 21 Nov 1992 02:43:23 GMT

In article <1ebtghINN4ej@menudo.uh.edu> chem91@Elroy.UH.EDU writes:
>>>
>Are any Scratch Orchestra recordings available (on CD)? 
>
I have not seen any.  (I'm still waiting for a CD of the Portsmouth Sinfonia!)
However, there is the SUPERSESSION CD of a 36'40" concert performance by Evan
Parker, Keith Rowe, Barry Guy, and Eddie Prevost, some, if not all, of whom are
Cardew disciples.  This CD was issued by Matchless Recordings, catalog number
MR17.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical.guitar
From: quigley@acs.ucalgary.ca (Martyn Thomas Quigley)
Subject: Re: Liona Boyd
Date: Sat, 21 Nov 92 04:37:44 GMT
Organization: The University of Calgary, Alberta

(Jeffrey A. Del Col) writes:
>
>Is Liona Boyd still doing conceerts, recordings, etc.?  I've got 
>a couple of CD's, but her earlier, more classical stuff does not
>seem to be available in that format.

Of all the guitarists I've ever seen, LB is the most least
likely to find my endorsement.  I thought her early recordings
were OK, but not exceptional, but her later recordings neither
capture much that I wish to listen to, nor extend what I would
like to hear.

Mart
Newsgroups: rec.music.classical.guitar
From: wiesman@cs.rulimburg.nl (Floris Wiesman)
Subject: Re: Bream (was Re: Williams & sight reading)
Organization: University of Limburg, Maastricht
Date: Mon, 23 Nov 1992 09:31:01 GMT

song@iastate.edu (Chang-Hyeon Song) writes:

>In article <1ecntrINNdta@menudo.uh.edu> wjin@cs.uh.edu (W. Woody Jin) writes:
[...]
>>BTW, what is Bream recently doing ?  It seems to me that he is not really
>>active nowadays.

>I heard that he had a  big car accident, but he miraculously got over.
>But he can play not as fast as he could, but more mature.

On October 21 I have been to a lute concert of Julian Bream in the Concertgebouw
in Amsterdam, The Netherlands. He made quite a few mistakes, but altogether it
was a fine concert. This concert was one of three jubilee concerts, the 2nd and
3rd being on December 11 and Februari 22.

Floris Wiesman
University of Limburg
The Netherlands
Newsgroups: rec.music.classical.guitar
From: song@iastate.edu (Chang-Hyeon Song)
Subject: Anyone tried Scott Joplin's Rag?
Organization: Iowa State University, Ames, IA
Date: Thu, 19 Nov 1992 19:26:13 GMT

Hello, anyone want to share idea about Rag music on classical guitar.
I bought a guitar rag(Joplin's) tape by Barbosa Lima and the sheet music, too.

I have just listen to the tape about several week, and then yesterday, I first
tried Weeping Willow.  
Dammn, it was so hard to get the rhythm.
This is the second day to read the transript, but again hard to grasp the
rhythm.  

Anybody has recoomandation on how to play Rag?

        +----------------------------------------------------------+
        |      Chang-Hyeon Song     |      song@iastate.edu        |
        |   Iowa State University   |       (515) 292-2209         |
        +----------------------------------------------------------+

Newsgroups: rec.music.classical.guitar