HDTenEightyP/NetNews huggingface dataset:
From: wyatt@othello (Wyatt Sutherland)
Subject: Could you get his autograph...
Organization: First National Bank Of Chicago, Chicago IL, USA
Date: Mon, 14 Sep 92 20:44:43 GMT

I was a student of Janos Starker's at Indiana University's School of Music  
several years ago.  Every Saturday Starker would hold his famous cello  
master class.  He had just return from his Japanese Tour when he told us  
of this funny incident.  It goes something like this.

Starker traveling with his Japanese pianist, Shigeo Niriki.  They are in  
the airport in Hong-Kong.  Niriki-san being just a little younger then  
Starker, he usually carries Starker's cello case.  Well Shigeo had to use  
the bathroom and asked Starker to hold the cello.  Shigeo returned and  
Starker had the biggest smile on his face.  Shigeo seeing the ear-to-ear  
smile asked, "What's so funny?" Starker replied "You're not going to  
believe this.  While you were in the bathroom, three girls came up to me  
and said "Wow, was that Yo-Yo Ma?  Could you get his autograph?"".

I can't remember what he said to the girls, but I think it is a funny  
story.

Newsgroups: rec.music.classical
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's 10th. Symphony
Date: 11 Sep 92 18:25:15 GMT
Organization: St. Andrews University, Scotland.

In article <CB.92Sep10111951@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>
>I've looked at Mahler's original and heard the arguments and listened to
>the result, and I consider this a Mahler symphony.  What else would it
>be--a work of Deryck Cooke's?  Aside from editorial questions, it works.
>I asked Giulini if he had any interest in it and he responded "It's not
>Mahler", but to me it is.  I'd like to know other netters' opinions.
>
>Chris Brewster
>cb@cray.com

I like it a great deal. I've got the Rattle version which is very impressive.
I've heard it a couple of times live, including once with Rattle, and never
fail to be moved by it. Obviously if Mahler had lived, i'm sure he would have 
made a lot of alterations
gavin ramsay
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Fair Phyllis was Re: Place in France
Date: 7 Sep 92 15:43:42 GMT
Organization: Oxford University VAX 6620

In article <1992Sep3.222306.1@eagle.wesleyan.edu>, phoogenboom@eagle.wesleyan.edu writes:
> 
> While we're on the subject of composers quoting childhood tunes, who out there
> is familiar with "Fair Phyllis I saw sitting all alone," a madrigal by John
> Farmer.  Near the beginning of the piece, on the words, "after her lover," one
> of the voices sings the tune familiarly associated with "nyah nyah nyah nyah
> nyah," to wit:
> 
> GeaGE (transposed to c major)

I know the madrigal extremely well, but I've never thought of this tune in this
way before. I suppose I'm too busy thinking of Phyllis and her lover going up
and down.
-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
Newsgroups: rec.music.classical
From: dl@indetech.com (David Lieberman)
Subject: Re: CD Boxed Sets of Operas
Organization: Independence Technologies, Inc. Fremont, CA
Distribution: usa
Date: Wed, 9 Sep 1992 00:09:03 GMT

In article <1992Sep5.224906.10599@u.washington.edu> lmeissne@milton.u.washington.edu (Loren Meissner) writes:
>Am trying to find a place where I can mail order CD boxed sets of complete operas at a discount. I've just received a card from BMG Classical music service indicating that it is NOT possible to order the following sets through them:
>THE MERRY WIDOW
>THE BARBER OF SEVILLE
>PELLIAS & MELISADONE
           ^^^^^^^^^^

I'm not surprised that you can't order that.  I think you need
a doctor's prescription.  :-)


>
>


-- 
____*_  David Lieberman             dl@indetech.com
\  / /  Independence Technologies   {sun,uunet,pacbell}!indetech!dl
 \/ /   42705 Lawrence Place        FAX: 510 438-2034
  \/    Fremont, CA 94538           Voice: 510 438-2030
From: sami@charles.ucdavis.edu (Kari Kaarna)
Newsgroups: rec.music.classical
Subject: Mauricio Kagel
Date: 9 Sep 92 01:50:45 GMT
Organization: Bohemian Inebriation Association


Goodday, gentlepersons!

I need to find a good source of information about the works and whereabouts
of the Brazilian/German composer Mauricio Kagel. Any suggestions?

I'd also like to know what is the closest place to California where his
published music scores can be rented for performance. If my memory does not
play tricks on me in Europe the place is Universal/Wien. Does someone know
for sure?

Thanks in advance.
-- 
**********************************************************************
Kari Kaarna                       *                `Rub her feet.'
sami@charles.ucdavis.edu          *                 -- Lazarus Long
**********************************************************************
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Le Sacre, Stravinski
Organization: Camosun College, Victoria BC, Canada
Date: Fri, 11 Sep 1992 00:19:16 GMT

In article <1992Sep10.170804.12479@CSD-NewsHost.Stanford.EDU> smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith) writes:
>In article <BuCxsJ.8Ix@cs.vu.nl> lrozend@cs.vu.nl (Rozendaal L) writes:
>>I'd like to know which performance of 'Le sacre du printemps' is considered
>>the best. Any opinions?
>>
>
>Well, I don't know which performance is considered *THE* best, that would 
>probably depend on who you asked.  I personally like Charles Dutoit       
>conducting the Montreal Symphony.  The "The Rite of Spring" is a very   
>difficult work to play, and Montreal is perhaps the most technically proficient
>Symphony Orchestra in the world today.  Some have complained that this
>performance lacks final level of savagery that is called for in this piece.
>However, I think that any more savagery would end up being sloppy.   Besides,
>Montreal delivers plenty of excitement!  Listen to this recording and tell me
>where you have heard such good playing!

Funny you should mention this version, as I have just (i.e within the
last hour) been listening to it. Personaly I think it lacks *any*
savagery at all. It is certainly well played, but I think the new
Boulez/Cleveland is better played and better recorded and a *much*
better interpretation.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Re: Sibelius 2nd
Date: 7 Sep 92 03:36:24 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

I've always had a soft spot for a Barbirolli recording made in the early '60s
with the Royal Philharmonic for a Reader's Digest "great classics" set of some
sort. Actually, the set had some wonderful things in it -- Horenstein conducting
Wagner, Dorati in some exceptional Strauss, some other things I cannot recall
without the set in front of me. The sound was also exceptional -- I believe the
recordings were made for RCA, but using the Decca/London crew in Kingsway Hall,
but I may be wrong. I think some of these recordings have been reissued on odd
labels (some of the Horenstein is on Chesky, for example), but I don't recall
seeing the Barbirolli Sibelius. Anyone have any more info on this set?
---
					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
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Shostakovich "The Assault on Beautiful Gorky"
Date: 9 Sep 92 11:20:22 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

chem91@Elroy.UH.EDU wrote:
[ in the "train songs" thread" ]
> The "mini piano concerto" from the music for the film "The Unforgettable
> Year 1919", composed by Shostakovich (ca. 1948).  The music apparently 
> portrays Stalin's heroic train ride to the city of Gorky during the civil
> war.

Is this the piece recorded under the title "The Assault on Beautiful Gorky"
as a filler to a recording (Alexeev's?) of the two piano concertos?  If so,
you *really* don't want it on a compilation tape - it is quite amazingly
awful.  Some of Shostakovich's other Stalinist music has its moments; this
thing has no redeeming features whatever.  Richard Addinsell did better.

-- 
--  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
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Newsgroups: rec.music.classical
Subject: Composition contests
Date: 14 Sep 92 16:11:19 GMT
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036

I lost the original posting but someone (Stephan Bechtold?) wanted info
on composition contests.  There was a wonderful directory of such things
called "Opportunities for Composers," compiled and edited by Ellen 
Schantz of the American Music Center.  You might want to contact 
them to see if they still have it and whether it's been updated.  Contact:

	American Music Center
	30 West 26th Street, Suite 1001
	New York, NY 10010-2011
	Phone:  (212) 366-5263

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.
From: beh@geech.gnu.ai.mit.edu (Bruce Howells)
Newsgroups: rec.music.classical
Subject: Re: Poulenc Dialogues
Date: 8 Sep 92 17:32:47 GMT
Distribution: rec
Organization: Internet access via the Free Software Foundation


Yes!  As a personal favorite, I would recommend Poulenc's Dialogues des
Carmelites.  I've always been a fan of Poulenc's music in any case, but
this opera is very interesting, and very good, if done correctly.  The
character development of Blanche is particularly interesting to note, as
well as several statements on the human condition, regarding fears.

I saw a production of this in English done by the New England Conservatory
(for those of you from NEC or the Boston area who may have seen this,
forgive me if anything offends).  I loved it, though it was not up to the
operatic standards to which I've grown accustomed.  The story was carried
through even though the student singers were far less than ideal.... I took
my husband with me, and it was the first opera he's ever seen (I know it
was rude, but he's got to get used to it sometime!) and he LOVED it, even
though he was also aware of the shortcomings...

Yes!  By all means, listen to the rest of the opera, and try to get a
chance to see it.. the last scene is even more moving on stage.

--Nancy Howells
(beh@gnu.ai.mit.edu through my husband's good will)
From: tegammk@prism.gatech.EDU (Mike Kazmierczak)
Newsgroups: rec.music.classical
Subject: Re: Shostakovic's Preludes and Fugues recording: comments?
Date: 11 Sep 92 23:38:17 GMT
Organization: Georgia Institute of Technology

In article <1992Sep8.123856.454@cine88.cineca.it> simion@iveuncc.unive.it (Marco Simionato) writes:
>I would appreciate any comments on the recent release on K.Jarret's
>recording of this piano work.
>I would also be grateful if anyone could tell me which label released
>Tatiana Nikoleeva's recording and if it is currently available.

 I can't wait to hear about the Jarrett recordings myself. 
I currently have the RCA recording on 2 vinyls and I really like it. The 
Nikoleeva recording has much longer timings and I would expect it to be slower.
THe label it is on is Melodiya.


-- 
Mike Kazmierczak
Georgia Institute of Technology, Atlanta, Georgia, 30332
uucp:	  ...!{decvax,hplabs,ncar,purdue,rutgers}!gatech!prism!tegammk
Internet: tegammk@prism.gatech.edu
From: f1toyl@uta.fi (Topi Ylinen)
Newsgroups: rec.music.classical
Subject: Ever heard "Synths are making orchestras useless"?
Keywords: synths orchestra obsolete
Date: 15 Sep 92 07:48:54 GMT
Distribution: rec
Organization: University of Tampere, Finland

Nowadays, or even a few years back, many computer enthusiastics and experts
boldly claimed in computer-related magazines (at least in Finland, they did)
that the modern synthetizator technology is so good in producing music that
we do not need expensive orchestras anymore.

IS THAT SO?

I have not heard even the first synth version of *ANY* orchestral work that
would have sounded _acceptable_. They all sound TERRIBLE. If you want to learn
to give value to your records, listen to a synth version of the respective 
works! 
I bet none of you can name an adequate synth recording of a classical work.
Just for comparison, I made a MIDI version of the Prelude to Wagner's 
"G|tterd{mmerung" (it was shorter and easier to play than any other to which
I had notes) and - after some editing - made my synth play it. Listening
to Solti&Wiener Philharmoniker made me want to format the whole disk!

Computer music lacks committedness, vividness, immediacy and all the "ethereal
beauties" we have learnt to respect in classical music. Notes are simply
certain frequencies.

Thus, the only kind of music which may be threatened by synths, is (IMHO
deservedly) popular music, which, as is, lacks the above-mentioned qualities
already... (as a rule, at least)


-- 
Topi Ylinen (f1toyl@uta.fi)
Patient: "I think I am gonna throw up!"
Doctor Sbaitso: "YOU THINK THAT YOU ARE GONNA THROW UP , BUT IT IS
		 ONLY ILLUSION."
Newsgroups: rec.music.classical
From: mikulska@crux.Princeton.EDU (Margaret Mikulska)
Subject: Re: Martinon 
Summary: Debussy, Ravel
Originator: news@nimaster
Organization: Princeton University
Date: Mon, 14 Sep 1992 21:46:42 GMT

In article <1992Sep14.193554.25208@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:
>
>Martinon's Ravel and Debussy recordings were issued on four individual
>EMI Studio disks a while back.  The Debussy disks are still available,

There was a series of four CDs on EMI Studio containing orchestral works
of Debussy - collected orchestral works of Debussy.  No Ravel in this
series.

Maybe you mean another series of CDs?

-Margaret
Organization: University of Illinois at Chicago
Date: Wednesday, 9 Sep 1992 15:45:17 CDT
From: <U58402@uicvm.uic.edu>
Newsgroups: rec.music.classical
Subject: Re: Supertitling
 <1992Sep3.161858.8638@vax.oxford.ac.uk>
 <1992Sep04.143349.4733@lloyd.Camex.COM> <Bu802x.EAA@news.udel.edu>

In article <Bu802x.EAA@news.udel.edu>, conrad@brahms.udel.edu (Jon Conrad) says:

>  [quoting David Pountney]
>
>But why *not* have surtitles?  Why not, for instance, contradict the
>efforts of the theatre architects who have spent centuries perfecting
>designs which concentrate the audience's attention on the stage, by
>installing little flashing screens in a part of the proscenium that was
>specifically designed to be looked at only during the interval?...
>

Because those little titles should not be all that distracting. If I'm
watching a subtitled foreign film in a language that I understand, so
that I don't need the subtitles to folow the dialogue, I find it
rather easy to "mask out" the subtitles so that I don't notice them at
all.

Wilbur Pan
(aka u58402@uicvm.uic.edu
 at the ever so friendly and personal univ. of ill. at chicago)


Newsgroups: rec.music.classical
From: dl@indetech.com (David Lieberman)
Subject: Re: Preparing vs. was-Re: Supertitling
Organization: Independence Technologies, Inc. Fremont, CA
Date: Wed, 9 Sep 1992 00:54:56 GMT

In article <1992Sep04.163743.6048@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>In article <1992Sep4.013431.19617@indetech.com> dl@indetech.com (David
>Lieberman) writes:
>
>>I have heard lots of opera-in-english.  I find most of it unbearable.
>
>I wonder whether you find it harder to listen to works in translation when
>you know the original reasonably well.  Yes, Rigoletto sounds funny.  On
>the other hand, when I hear an opera in the theatre that I've never heard
>before, I'm grateful to know what's going on.  As I've said before, that's
>not my normal practice, but at least it's an option.

At first I was inclined to agree with you but then I thought about
my actual experience.  My first Boris Godunov was in English. 
Also Eugene Onegin.  Wozzeck.  Lulu. Jenufa.   Don Pasquale.  The
Makropolous Case. The Bartered Bride.  Many of these works are
"conversational" and ought to work better in translation.  Not so for
me.  These were all big bores in English.  Given a choice I would
prefer to see any of them in their original language with or without
supertitles.

>
>>Everybody praises the Andrew Porter translations.  I have never heard any
>>of them.  Are the translations good or are they praised because of Porter's
>>influential critical position?
>
>I have Porter's translation of Falstaff.  I appreciate it more as a
>masterwork of translation than as a perfect singing libretto.  He managed
>to capture the sense of a lot of the original without a slavish regard for
>literal translation.  Does it do harm to the original?  I don't think so.
>But then how do you translate lines like, "Pizzica, pizzica, ..." however
>it goes from there?  I think he did a pretty good job.
>
>Chris Ischay
>chrisi@camex.com

I saw an English language Falstaff a few years ago.  Don't know whose
translation.  There was not a chuckle from the audience from beginning
to end.  A few months later I saw Giuseppe Taddei sing the title role
at the Met in Italian, a language I don't speak.  It was hilarious.

-- 
____*_  David Lieberman             dl@indetech.com
\  / /  Independence Technologies   {sun,uunet,pacbell}!indetech!dl
 \/ /   42705 Lawrence Place        FAX: 510 438-2034
  \/    Fremont, CA 94538           Voice: 510 438-2030
From: ca572@cleveland.Freenet.Edu (Mark L. Stackpole)
Newsgroups: rec.music.classical
Subject: Re: William Bolcom's  _McTeague_
Date: 8 Sep 1992 23:49:23 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


The "drowning in corn" incedent is from Norris' _The Octopus_.
In the book it's wheat that the railroad broker is smothered in.
_McTeague_ is a lot closer to great, than fair-to-midlin' was
It was first published in 1900 and served as the basis for Von
Stroheim's silent movie _Greed_. 
_McTeague_'s last scene is the title character handcuffed to a
corpse in the middle of Death Valley. Talk about your statements
of the human condition.
####
Newsgroups: rec.music.classical
Subject: Re: Supertitling
From: dgold@basso.actrix.gen.nz (Dale Gold)
Date: 16 Sep 92 02:31:31 PST
 <1992Sep04.143349.4733@lloyd.Camex.COM> 
 <Bu802x.EAA@news.udel.edu>,<1992Sep9.020719.16782@credence.com><1992Sep9.141838.12101@menudo.uh.edu>
Organization: New Zealand Symphony Orchestra

Quoted from <1992Sep9.141838.12101@menudo.uh.edu> by chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789"):
> [stuff deleted]
> >
> >PS. It occurs to me that surtitles could be made less distracting but
> >nearly as readable through judicious choice of foreground and background
> >colors - does anyone know of experimentation on this?
> 
> A high-tech solution would be a video monitor for each seat, like the posher
> Airlines are now installing, as I understand. You could also tune into the
> ballgame if you were getting bored...

Although I've never personally witnessed it in concert, the advent of
Walk<person> style radios and TV's with tiny headphones for brass players
has been a boon to many symphony orchestras in rehearsal for many years.

Dale
--
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand
Newsgroups: rec.music.classical
From: lms@TorreyPinesCA.ncr.com (Max Stern 310-524-6152)
Subject: Re: Wedding music suggestions?
Organization: NCR (Torrey Pines Development Center)
Disclaimer: This posting does not neccessarily reflect the opinions of NCR.
Date: Wed, 9 Sep 92 21:02:19 GMT

In article <30303@goofy.Apple.COM> singer@apple.com (Dave Singer) writes:
>
>I have wondered whether the little anthem "Set me as a seal upon thy heart"
>(which as I recall is dedicated to a lady and gentleman) by Walton,
>was intended for such use, having a small baritone and soprano solo
>in it.
>
>Does anyone know?


No, but I have some auxiliary information.  The text "Set me as a seal
upon thy heart" is from the Song of Songs.  The wedding band which my
bride will give to me in eleven days has those very words (in Hebrew;
"Simeni ca-chotam al libecha") engraved inside.

I don't know the Walton setting, and would be interested to hear more.
Published as sheet music?  Available on CD or cassette?
-- 

 |\/|  /_\  \/
 |  | /   \ /\                      Max.Stern@TorreyPinesCA.ncr.com
Newsgroups: rec.music.classical
From: inr@eccles.caltech.edu (I. Neill Reid)
Subject: re: Sibelius 2nd
News-Software: VAX/VMS VNEWS 1.41    
Organization: California Institute of Technology
Date: Wed, 9 Sep 1992 16:30:00 GMT

 Chris Brewster writes:

>movement that makes me turn off the radio.  I've been waiting 15 years
>for a live performance of the sixth; I doubt one will ever come along.

  I've attended at least 2 (in Edinburgh - Gibson doing his Sibelius
  medal work) and I know I heard others on the radio in the UK

>An interesting question is, what accounts for Sibelius's change of style
>between the second and third symphonies.  I had my own theory about
>this--that it had something to do with the revival of Berwald at that
>time--but I've seen at least two other theories about it.  One was that
>he moved to the country and became more conscious of natural beauty.
>Whatever it was, symphonies 3 through 7 are an extraordinary group.

>Chris Brewster
>cb@cray.com

 I'd argue that the language/style changes between the 2nd and the
3rd are not that substantial - there's obviously an increased
distillation of ideas, pointing towards the amazing concentration of
the 7th, but I'd argue that the 2nd and 3rd (certainly, as someone
else pointed out, the 2nd and 5th) are more similar to each other than
to any symphonic works by other near-contemporaries. Certainly 
the 1st symphony owes a lot to Tchaikovsky, but by the 2nd
Sibelius is well into his own tone-world. Nobody else could have
written the ostinato-like _accompaniment_ to the `big tune' in the 
finale. (Note that Sibelius was working on the final revisions of
two of the Lemminkainen legends just before the 2nd - same 
tone-world as the later symphonies).

The fact is that most conductors play the 2nd as if it was a standard 
19th C big romantic symphony - a la mode de Brhams, Tchaikovsky, even Dvorak.
Hence Karajan or Maazel, say, plays Sibelius in the Germanic tradition, 
while Koussevitsky played it in the Russian tradition. Fine
performances, but not quite the right palette. That's where I think 
Gibson wins over the other interpretations (maybe it's got something to 
with the fact that Rannochmoor is only about 40 miles north of Glasgow). 

I've seen the 3rd talked about as `classical Sibelius', while the 
1st and 2nd are `romantic Sibelius'. Anyway, I'd argue that the 
2nd-3rd is more of a continuous natural progression of style
than an abrupt transition.

Neill Reid  - inr@eccles.caltech.edu

Newsgroups: rec.music.classical
From: slothrop@cheshire.oxy.edu (Roger Lebow)
Subject: Re: RE: Funeral music
Organization: Occidental College, Los Angeles, CA 90041 USA.
Date: Wed, 9 Sep 1992 06:57:00 GMT

Has no one mentioned Hindemith's Trauermusik (Funeral Music)? Hindemith
happened to be in London when George V died. He wrote the piece on the day
following the monarch's death, and performed it on the radio with the BBC
Symphony the day after that.

The piece consists of four brief, connected movements, the last of which is
based on the chorale Fuer deinen Thron tret ich hiermit. It's an affecting
miniature from Hindemith's Mathis der Maler period, and is well worth hearing
and performing (the solo part may be played by violin or cello as well as viola,
Hindemith's chosen instrument).

Roger

Newsgroups: rec.music.classical