HDTenEightyP/NetNews huggingface dataset:
From: lee@wang.com (Lee Story)
Newsgroups: rec.music.classical
Subject: Re: Complete Set of LvB Piano Sonatas
Date: 23 Jul 92 18:38:42 GMT
Organization: Wang Laboratories, Inc.

In article <1992Jul23.015842.9806@cmcl2.nyu.edu> tony@cns.nyu.edu (Tony Movshon) writes:

   Oh, please! Schnabel's Beethoven sonatas are one of the great triumphs of
   the art of recording, and for many (myself included) remain the standard
   against which all other interpretations are judged (usually unfavorably).
   The sound is 1930s sound, for sure. So what? In this case, it doesn't make
   sense to dwell on its shortcomings, just enjoy the music for what it is.

Surely most of us will second Tony's plaudits, though the Hammerklavier
still seems to me rushed, even after many auditions.  (Sure I know about
metronome marks, but I can't _bear_ to mangle the music by playing the
1st mvmt that fast---a matter of taste...I think of Beecham's famous
comment on late Beethoven.)

Who gives a damn about hi-fi?  My favorite Prokofiev is still Richter's
1960 Carnegie Hall live recording of the 6th Sonata---insanely great
performance, terrible sound.

Has anyone reviewed Richard Goode's Beethoven recordings?  I've heard
raves, but haven't seen them in nearby stores.
--
------------------------------------------------------------------------
  Lee Story (lee@wang.com) Wang Laboratories, Inc.
              (Merrimack Valley Paddlers)
------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: jefrank@magnus.acs.ohio-state.edu (Jason E Frank)
Subject: Re: minimalism
Organization: The Ohio State University
Date: Wed, 22 Jul 1992 03:27:39 GMT

In article <BrrFJG.EF@quake.sylmar.ca.us> brian@quake.sylmar.ca.us (Brian K. Yoder) writes:
>I'm glad to hear that "minimalism" is not your "favorite" genre, but how can you
>justify having any desire to listen to it?  Or are you another of these "Lustigians"
>who don't think that there is any way to evaluate musical quality aside from 
>knee-jerk emotionalism which is beyond explanation?
>
Just to give an obvious example, I enjoy Glass' "Music in Twelve Parts" for
much the same reasons that I enjoy a good roller coaster--not that I can
really explain either.
--j.e.f.
Newsgroups: rec.music.classical
From: mheim@beach.csulb.edu (Michael Heim)
Subject: Re: Wagner's Ring: Solti still unrivalled?
Keywords: wagner ring solti
Organization: Cal State Long Beach
Distribution: rec
Date: Wed, 29 Jul 1992 14:29:18 GMT

My own experience has been different.  Once I got really interested
in hearing the Ring many times, to study it, I started to get
annoyed by Solti's fiddling with the knobs and boosting things
artifically.  At least that's what it sounds like when compared
witih the clean performances like Haitink.  

I guess I like Solti's very much too, but for long distance
listening, the low-key but clear-as-a-bell Haitink pleases me more.

Mike Heim
Newsgroups: rec.music.classical
From: jim@fuji.eng.yale.edu (James J. Szinger)
Subject: Re: Ein Deutsches Requiem (was Re: Christa Ludwig)
Organization: Yale Univerity, Intelligent Sensors Lab, Elect. Eng.
	<1992Jul20.004748.15515@research.canon.oz.au>
	<CB.92Jul22162253@tamarack13.timbuk>
	<1992Jul22.233451.7241@CSD-NewsHost.Stanford.EDU>
Date: Thu, 23 Jul 1992 11:32:51 GMT

In article <1992Jul22.233451.7241@CSD-NewsHost.Stanford.EDU>
mjw@Xenon.Stanford.EDU (Michael Wolverton) writes:

>I have two recordings which are really fine all-around: the
>Gardiner/Monteverdi CD on Phillips and the Shaw/Atlanta CD on Telarc.
>The Gardiner is a smaller sound than you might usually get with this
>piece, and you can occasionally tell that they're using original
>instruments, but the singing and interpretation are first-rate.
>(Listen especially to the attention to text and phrasing in the trio
>of the 2nd movement -- Wow!).

I don't really like the Gardiner/Monteverdi recording.  It seems
to me a rather rough-shod performance with no finesse.  The
anguish, brimstone and solace all fail to carry the necessary
emotional force.  As far as instrumentation goes, the liner notes
claim that only the use of Vienna horns and oboes is the main
departure from a standard modern orchestra.  Vienna has been
using Vienna horns since before the time of Brahms, so my
question is: Are there any significant differences between the
instruments used by the Gardiner's and Karajan's orchestras?

Jim
--
James Szinger                        jim@fuji.eng.yale.edu
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: Minimalists/Andriessen
Date: Wed, 22 Jul 92 08:54:38 EDT

In <l6oo5uINNfec@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:

>Here's a list of some of the composers who have been inflicted with
>the minimalist label over the years:

[ long list deleted except for...:]
>Frederic Rzewski
	  ^^^^^^^

Hmmm... I know several of his works and never considered any of them
to be minimal. His most famous work, The People United, is about as
far from 'minimal' as you can get, exploring a vast arrays of styles
from baroque to serial. Even "Winnsboro Cotton Mill Blues", with it's
incessant pounding full forearm tone clusters is more impressionistic
than minimal. Anyone know a minimal or pseudo-minimal work by Rzewski???

-- 
*-------------------------------------------------------------------------*
#   "Who let all this riff-raff into the room?!?" - The Surrogate Band    #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
#           [ All opinions are strictly MY OWN! Hands off! ]              #
*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
From: carnes@sparky.eecs.umich.edu (Richard Carnes)
Subject: Re: Most annyoying use of "Carmina Burana" yet
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Wed, 29 Jul 1992 12:59:12 GMT

In article <5617@npg-sd.SanDiegoCA.NCR.COM> ewing@npg-sd.SanDiegoCA.NCR.COM (David Ewing) writes:
>Okay, we're all tired of hearing "Carmina Burana" in films, but
>get a load of this.  The local NBC news affiliate here in San Diego
>has just started airing a promo for their nightly news using this
>piece (as background for lots of shots of their ever vigilant news
>team looking very serious as they uncover the news).  This is being
>aired every 20 minutes or so during the Olympics. Aaarrrgggghhh!!! 

This must be a trend.  A few weeks ago a local (Detroit) TV "news"
outfit was running teasers for an investigative series on "Nazi
Neighbors", about neo-Nazis in our midst.  The background music
accompanying shots of rabid-looking Nazi types, of course, was from "O
Fortuna".  I, too, was wondering what this piece has to do with Nazis.
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: 100 beautiful operas (Addendum)
Organization: University of Delaware
Date: Tue, 28 Jul 1992 18:10:01 GMT

In article <1992Jul15.122119.1@gsbacd.uchicago.edu> ca_ac@gsbacd.uchicago.edu writes:

[Der Ring des Nibelungen]

>...CO mentions a third set
>(Goodall/Bailey/Hunter/Curphey/Remedios) which is in English. Has anyone
>heard this?

Yes.  It's very good, though Goodall's idea of pacing may take some
getting used to.  To my ears, though, he gives it the structural
backbone to justify his slow pacing (as Levine, for example, doesn't
always).  I find Walkeure and Siegfried particularly successful.  And
Goodall had a unique way of developing Wagnerian singers, coaching them
individually for a year in advance till they thought as one.  Rita
Hunter, Alberto Remedios, and Norman Bailey all do magnificent work
here.  And Andrew Porter's translation is a revelation both to those who
think opera in English always sounds awful, and to those who (like me)
thought they were following the German perfectly well.  This is well
worth hearing.

>So here they are:

>Wagner		Tannhauser		CO Konwitschny/Hopf/Gruemmer/Schech/DFD

I guess he includes this for the quality of Gruemmer, Fritz Wunderlich
in a small role, and Dietrich FD.  But Hans Hopf is a sore trial to the
ears.  Solti surpasses this in almost every respect, first by choosing
the superior Paris version (which only Sinopoli also does), second by a
consistently good cast.  Especially fine are Hans Sotin (Landgraf),
Victor Braun (Wolfram), and the divine Christa Ludwig (Venus, and she
flew in on 1 day's notice from New Orleans to replace an ailing Regine
Crespin), but nobody is bad.

And then, of course, there'e the Met broadcast issue, with Flagstad and
Melchior.  Sigh.....

Jon Alan Conrad
Newsgroups: rec.music.classical
From: tony@cns.nyu.edu (Tony Movshon)
Subject: Re: Complete Set of LvB Piano Sonatas
Reply-To: tony@cns.nyu.edu
Organization: New York University
Date: Thu, 23 Jul 1992 01:58:42 GMT

In article 197@spchsys.spchsys, jjt@spchsys.spchsys (John J. Turley) writes:

> One thing I would recommend you avoid then is the recordings by Artur
> Schnabl. These were done in the 1930's, and there are occasional mistakes.
> I am also not so keen on the interpretation... Perhaps if they had been
> done in the 1980's, they would have recorded with much better equipment
> and spliced out the execution errors.

Oh, please! Schnabel's Beethoven sonatas are one of the great triumphs of
the art of recording, and for many (myself included) remain the standard
against which all other interpretations are judged (usually unfavorably).
The sound is 1930s sound, for sure. So what? In this case, it doesn't make
sense to dwell on its shortcomings, just enjoy the music for what it is.
---
					Tony Movshon

Internet:  movshon@nyu.edu

US Mail:   Howard Hughes Medical Institute
	   Center for Neural Science
	   New York University
	   4 Washington Place, room 809
	   New York, NY 10003
Phone:	   (212) 998-7880
Fax:	   (212) 995-4183

Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: Looking for recording of Vaughan Williams "Folk Song Suite" done by a *band*
Organization: University of Western Australia
Date: Fri, 24 Jul 1992 07:44:19 GMT

There was a version on Angel as part of an LP of bits by RVW - the
wasps, tallis etc. I seem to recall it was Boult conducting a band made
up from the London Philharmonic for the occasion.
Newsgroups: rec.music.classical
From: colby@tsd.arlut.utexas.edu (Colby Leider)
Subject: Mozart REQUIEM
Organization: Applied Research Labs, University of Texas at Austin
Date: Wed, 22 Jul 1992 16:09:53 GMT

Does anyone know of a good recording of this work?
Does Telarc have a recording with Shaw and the Atlanta S.O.?

Thanks.
colby@titan.tsd.arlut.utexas.edu
From: olevi@daimi.aau.dk (Ole Villumsen)
Newsgroups: rec.music.classical
Subject: Re: Clavieruebung
Date: 29 Jul 92 09:35:19 GMT
Organization: DAIMI: Computer Science Department, Aarhus University, Denmark

knotts@hpl-opus.hpl.hp.com (Tom Knotts) writes:

[stuff deleted]

>This is not the only instance that Bach uses double pedal. He does
>so at the end of the prelude in D major, for example (sorry, don't
>remember the BWV).

532


___________________________________________________________________
 Ole V. Villumsen              email:   ovillumsen@daimi.aau.dk
 Computer Science Department   phone:   (+45) 86 12 71 88 ext. 5104
 Aarhus University             direct:  (+45) 86 20 27 11 - 5104
 Building 540                  fax:     (+45) 86 13 57 25
 Ny Munkegade                  private: (+45) 86 27 29 26
 DK-8000  Aarhus C.
 Denmark
Newsgroups: rec.music.classical
From: lampson@tellabs.com (Dave Lampson)
Subject: Re: Piece by Ben Franklin?
Organization: Tellabs, Inc., IL
Distribution: na
Date: Tue, 21 Jul 1992 23:36:21 GMT

In article <148ba4INNns1@darkstar.UCSC.EDU> haynes@cats.ucsc.edu (Jim Haynes) writes:
>
>Somewhere the other day I heard or read of a pice (string quartet?)
>written by Ben Franklin, a.k.a. Poor Richard.  Can anyone identify it?
>Also the other night the local classical station played a composition
>by Nietzche, the philosopher.

I just listened to the Franklin piece last night, as a matter of fact.
it's only been *attributed* to him as there is no manuscript of the piece
in his copius papers.  But, apparently it can't easily be attributed to 
anyone else either, so he gets the credit (blame?).  It's written for
string quartet, though it's really a collection of short movements in 
dance form, so it resembles a short suite much more than a "string 
quartet".  It is written such that all parts can be played on open 
strings (with the instruments tuned strangely - called scordaturra [sp?]),
which supposedly lends credence to the attribution as ol' Ben loved 
experimentation.  Interestingly, it struck me as sounding very much like 
pieces written in the very early Baroque period for a small group of viols.
Here's the recording info (the 2-CD set sells for $9-11, and is called "The
Early String Quartet in the U.S.", or soemthing like that):

--------------------------------------------------------------------------------
CHADWICK               Quartet #4 in E minor                                 ADD
FOOTE                  Quartet #3 in D Major                     Op. 70
FRANKLIN               Quartet (Suite)
GRIFFES              2 Sketches Based on Indian Themes
HADLEY                 Piano Quintet in A minor                  Op. 50
LOEFFLER               "Music for 4 Stringed Instruments"
MASON                  Quartet Based on Negro Themes in G minor  Op. 19
Kohon Quartet                           
Moss Music Group            Vox Box                   CDX5057        (2) 2:33:13
--------------------------------------------------------------------------------

The other music on this release is extremely interesting, and most of it
available nowhere else, at the moment.

-- 

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!

Newsgroups: rec.music.classical
From: lampson@tellabs.com (Dave Lampson)
Subject: Re: Can you tell me the name of this piece of music?
Organization: Tellabs, Inc., IL
Date: Thu, 30 Jul 1992 13:27:10 GMT

In article <1992Jul28.125422.7859@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
>In article <Bs2F55.6GC@acsu.buffalo.edu>, henning@acsu.buffalo.edu (Karl conjoint Henning) writes:
>> AB RAHIM,HARMAN SHAM writes:
>>>	Yesterday, while watching the first day of Olympic gymnastic    
>>>competition, I noticed that a piece of music is played over and over
>>>again to accompany the competitors.  I'm wondering if anyone can identify
>>>this piece of music.

>> But the reason I'm responding is, the music for the women's gymnastic
>> floor exercises struck me as being a "composite";  the first bit sounded
>> like a chunk of a Mozartean slow movement, but then the meter & tempo
>> abruptly changed (the matter of key was cleverly edited, though), and
>> sounded more like a Russianish violin concerto.
 
>Weren't there two seperate pieces, one bit of Mozart(-ish) which began with a
>few plinks and was used by the USAniansand the Chinese, and one heavy Russian 
>Romantic, with a bit of fiddle solo, which the EUNians used? The BBC
>didn't see fit to show us any more than those three teams, so I can't comment
>on the rest. Besides, I became very bored with the music very quickly, so I
>switched off mentally.

No, by definition, all 96 contestents had to perform their floor exercise to
the same piece of music which was chosen by the judges.  The reason for this
is that the first round are the compulsories and everyone had to do the same 
routines.  This means that anyone who was there for the whole competition
(judges, audience, competitors) was subjected to the same 2 minute piece a
total of 96 times.  The commentators noted that though they thought the piece
was quite nice at first, it became almost painful somewhere around the 70th
time through.

I haven't been able to identify it myself, and Karl may be right about it 
being a composite.  Part of it did sound a bit like a work by Sarasate
for violin & piano.  I haven't had a chance to check on the "La Campanella"
by Paganini clue yet.  Anybody have any other ideas?


-- 

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!

Newsgroups: rec.music.classical
From: slagle@lmsc.lockheed.com (Mark Slagle)
Subject: Re: Question about "Carmina Burana"
Reply-To: slagle@lmsc.lockheed.com
In-reply-to: tsai@tecrus.enet.dec.com's message of Thu, 23 Jul 1992 22:42:55 GMT
Organization: You wouldn't ask this if you'd seen my desk.
Date: Sat, 25 Jul 92 00:37:11 GMT

In article <1992Jul23.213950.20514@nntpd.lkg.dec.com>, tsai@tecrus.enet.dec.com (Kuo-Yeang Tsai) writes:

> Even without reading the somewhat offensive lyrics, friend asked
> "Is this Satan-worshipping music?" upon hearing the first few 
> passages.

Just curious, but what about the lyrics did you find offensive?
--
----
Mark E. Slagle                                 PO Box 61059
slagle@lmsc.lockheed.com                       Sunnyvale, CA   94088
408-756-0895                                   USA
From: hhh@basil.lcs.mit.edu (Henry Houh)
Newsgroups: rec.music.classical
Subject: Violin showpiece during Olympic gymnast's floor routine
Date: 29 Jul 92 22:54:37 GMT
Organization: /home/tb/hhh/.organization



Did anyone wathching the Olympics (women's gymnastics) Tuesday night
(around 11:15 PM EST) recognize the violin showpiece used during a US
gymnast's floor routine?

The routine was going on during the beam exercise of the Unified
gymnast Tatiana Goutsou, who fell on her attempt to mount the beam and
got a 9.45.  They replayed the US gymnast's floor routine immediately
afterwards, and commented on a return to a more classical style (hence
the music) which would please more judges.

Thanks!

Henry

hhh@basil.lcs.mit.edu
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Cage
Date: 31 Jul 92 16:34:19 GMT
Distribution: usa
Organization: CS Division, UC Berkeley
NNTP-Posting-Host: ginkgo.cs.berkeley.edu

In article <1992Jul31.162153.13315@titan.tsd.arlut.utexas.edu>, colby@tsd.arlut.utexas.edu (Colby Leider) writes:
|> 
|> Is John Cage still alive?

Yes indeed.  Doing pretty well for his age, too -- I heard him speak before
a concert this spring, in honor of his 80th year.  He held up his end quite
well in a discussion with Stephen Mosko and Joan LaBarbara.

	Vance
From: mckinzie@schaefer.math.wisc.edu (Mark McKinzie)
Newsgroups: rec.music.classical
Subject: Re: Most annyoying use of "Carmina Burana" yet
Date: 30 Jul 92 00:56:10 GMT
Organization: Univ. of Wisconsin Dept. of Mathematics

wilcox@vax.oxford.ac.uk writes:

>Perhaps someone else can confirm or deny this rumour, but I read in a newspaper
>review that Michael Jackson was using Carmina Burana to come on stage to during
>his latest tour.  Not that I'm really bothered, you understand, but it did
>strike me that that might be the musical highlight of the evening.

Back in 1980, Ozzy Osbourne opened his concerts with "O Fortuna!".

Imagine the shock of the local teens when I started singing along with 
the intro tape. (his guitarist, Randy Rhoads (r.i.p.), quoted Paganini's
Concerto No. 1 as a (small) part of his extended solo, as well.)

Of similar import, Yngwie Malmsteen has a song (?Icarus Dream?) which
is essentially his reinterpretation of Albeniz' Adagio.  Like anyone
really cares . . . . :)


-- 
Mark McKinzie          	|    We just won't eat on Sunday
mckinzie@math.wisc.edu 	|    Got to buy him a limousine
UW Dept. of Mathematics	|    Somewhere to live, somewhere to pray. 
Madison, WI 53706      	|               -RJD, "TV Crimes"-
From: vnguyen@husc8.UUCP (Vinh Nguyen)
Newsgroups: rec.music.classical
Subject: Re: Met's Semiramide
Date: 27 Jul 92 18:49:35 GMT
Article-I.D.: husc3.1992Jul27.144936.14225
Originator: vnguyen@husc8.harvard.edu

From article <92208.160405KSSHC@CUNYVM.BITNET>, 
	by Ken Sherrill <KSSHC@CUNYVM.BITNET>:

> I saw that Barseg Tumanyen is listed in today's Times as Assur in the first
> series of performances of Semiramide at the Met. My memory is that he was
> coarse and off-pitch as Ramfis a couple of years ago. Does anyone else know
> anything about him?

Nope, but what about Ramey???  Will he repeat his performance 2 years
ago?  (Too bad, I only saw him in the telecast)!

> I also noticed that they still are not listing a soprano to replace Gruberova
> as Semiramide. Does anyone know what's up?

I don't know anything about this either, but I remember that Leila
Cuberli (who alternated with June Anderson 2 years ago) was listed
on the subscription series mailing order form.  (Of course, that's
not up-to-date).

Vinh Nguyen
From: simona@panix.com (Simona Nass)
Newsgroups: rec.music.classical
Subject: Re: Bach cantatas:Recommendation
Date: 29 Jul 92 20:16:12 GMT
Organization: PANIX Public Access Unix, NYC

I strongly recommend any Bach pieces with Joshua Rivkin conducting, if
that's your thing. He uses authentic instruments, only one voice per part
(greater clarify and lighter tone), etc. I like Cantata 147. -S.
-- 
Disclaimer: I am not an attorney, though I do have an opinion on everything.
     (     simona@panix.com    or    {apple,cmcl2}!panix!simona     )

   STUYVESANT H.S./NYC alums: e-mail me about the alumni e-mail directory
Newsgroups: rec.music.classical
From: tl@faith.cs.uchicago.edu (Teng Li)
Subject: Recommendation for place to buy classical CD
Organization: University of Chicago Computer Science
Distribution: rec
Date: Fri, 31 Jul 1992 04:44:02 GMT

Hi, folks:

I am very new to this group. So could anyone tell me what is the good
place such as stores or music clubs for mail order good CDs in good
price. I heard of Columbia house and B&M(?) , how are they.

any information is appreciated!

please E-mail:

tl@cs.uchicago.edu
--
---------------------------------------------------------------------------
Teng Li 			|USmail:	Ryerson 258
tl@cs.uchicago.edu	        |		Artificial Intelligence Lab
PH: (312) 702-0024		|		1100 East 58th Street
FX: (312) 702-8487              |               Chicago, IL  60637
Newsgroups: rec.music.classical
Subject: Re: Most annyoying use of "Carmina Burana" yet
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Date: Thursday, 30 Jul 1992 21:50:02 EST
Distribution: world
Organization: University of Maryland at Baltimore

RE Olaf Titz' notion that it is encouraging for Orff's "Carmina" to be
a dance floor hit, I'd agree only if they also listen to it at home --
sitting down, thoughtfully.  Otherwise, I most quote La Roche in Strauss'
_Capriccio,_ dismissing all discussions of operatic innovations with the
peremptory "Alles nur mode!"

Robert Haskins <RHASKINS@UMAB>
__________________________________________________________________
"The world is everything that is the case." -- Ludwig Wittgenstein
__________________________________________________________________
Newsgroups: rec.music.classical