HDTenEightyP/NetNews huggingface dataset:
From: lungtt@gus26.ecn.purdue.edu (Terence T. Lung)
Subject: Re: Best recording of "1812 Overture"?
Organization: Purdue University Engineering Computer Network
Date: Sat, 7 Nov 1992 05:05:43 GMT

In article <1992Nov6.192644.20899@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>In article <chiu-051192100848@222.8.248.8> chiu@gpb-mac.sps.mot.com (Norman Chiu) writes:
>>Hi Everyone:
>>    I am looking for the best CD (in terms of recording and performance)
>>of the "1812 Overture" by Tchaikovsky.  Can anyone recommend one?
>
>Best performance is surely the 1940 Concertgebouw/Mengelberg on
>Teldec. He's the only conductor who actually makes it sound like
>*music*. As for recording, who knows? (And who cares?)

best recording?  I'll put my bet on that Telarc recording.
Was it the Cleveland Orchestra?

Terence

Newsgroups: rec.music.classical
From: kiisaka@csi.uottawa.ca (Ken Iisaka (the mad pianist))
Subject: Re: Chopin's hands (was: It's in the wrists.)
Organization: Dept. of Computer Science, University of Ottawa
Date: Thu, 12 Nov 92 21:50:11 GMT

Pieces by Skryabin have lots of impossible chords.  However, it is not expected
that you play all of the notes together, anyway.

I remember a A-C#-F#-C# in his third sonata.
There were lots and lots of impossible ones in the fifth sonata...

Ravel's Concerto pour la main gauge has a coupld of G#-D-F#-C#'s.

Oh, I can just reach an octave, perhaps a ninth (white key to white key) on a
good day.  I manage to play pieces like Mussorgsky Pictures... 

-- 
Ken Iisaka               \ NEXT RECITAL  |12:00 pm, Thursday, January 7th, 1993
kiisaka@csi.uottawa.ca     \ Produced by |National Gallery of Canada, Ottawa
AI Lab, University of Ottawa \ CBC Stereo|Berg        Sonata, b minor, op. 1
H: +1 613 237 6642 W: 564 8155 \ 103.3 FM|Mussorgsky  Pictures at an Exhibition
From: jzl10@uts.amdahl.com (Jay Lee)
Newsgroups: rec.music.classical
Subject: Glenn Gould Collection video
Date: 5 Nov 92 23:59:13 GMT
Organization: Amdahl Corporation, Sunnyvale CA

I saw the Sony's 13 VHS tape and 7 Laserdisc issue of GG's performance
recording appearing in record/video stores (Towers) in California.  Does
anyone know how good these things are?  Are they worth to consider buying
a LD player this time, since the LD set is cheaper and would probably be
better quality and last longer?

Also, does anyone know why in the world they are issued in MONO sound track?

Jay Lee
jzl10@uts.amdahl.com
From: shari@pobox.upenn.edu (Shari Bart)
Newsgroups: rec.music.classical
Subject: Re: Brahms
Date: 12 Nov 92 16:40:55 GMT
Followup-To: rec.music.classical

Response to Mike Hurben:  (Sorry, something's weird with my computer.)
He writes:

Well, I cannot help you out.  I must confess to feeling exactly as you do. 

While I realize that Brahms was an outstanding composer, he has not done
much
for me.  I first came across his music about the same time that I
discovered
Mozart and Beethoven.  I promptly went out and bought all his symphonies
and 
piano concerti, not to mention the famous short pieces...overtures, Haydn 
variations, etc...

Then I met Mr. Mahler and Mr. Wagner and all hell broke loose.  I have not
been
the same since.  A few months ago I went back and listened to most of my
Brahms,
and I did enjoy it...but it did not induce the huge emotional catharsis
that I
am now a glutton for.  But there is much that I have not heard...such as
all
of the violin concerto, or the German Requiem.  Also, the little chamber
music
that I have heard I liked, so I would like to hear some more.

This is not to insult the Brahms faithful out there.  I would like nothing
more
than to have some music of his grab me by the throat and make me beg...

Any recommendations?

Mike Hurben

Well, Mike
If Brahms 1st symphony or any of them for that matter did *nothing* for
you, I don't know that there's much hope.  However, try the Brahms B-flat
major piano trio if you're looking for chamber music.  Or any of the piano
quartets or quintets.  And definitely listen to the violin concerto and
while you're there, try the Brahms Double for cello and violin.  If none of
these works "grab you by the throat and make you beg" then I don't know
what.  I like Mahler too but I don't think you need to *choose*.  Brahms
and Mahler are two very different composers. You can like Mahler and Bach,
why not Mahler and Brahms?

Shari Bart
From: hal@radio.wkar.msu.edu (Hal Prentice)
Newsgroups: rec.music.classical
Subject: Gramophone 1992 Awards
Date: 5 Nov 92 14:52:11 GMT
Organization: Broadcasting Services, Michigan State University

Best Orchestral Recording -

Beethoven Symphonies. Chamber Orchestra of Europe/Harnoncourt (Teldec 2292-
46452)

Best Solo Vocal Recording -
Schubert Lieder. Brigitte Fass Baender, ms; Aribert Reimann, pf (DG 429 722-
2)

Best Baroque Vocal Recording -
Handel Guilio Cesare. Concerto Cologne/Jacobs, et al (Harmonia Mundi HMC 90 
1385/7)

Best Baroque Non Vocal Recording -
Rameau Harpsichord Works. Christophe Rousset, hc (L'Oiseau Lyre 425 886-2)

Best Chamber Recording -
Szymanowski String Quartets. Carmina Quartet (Denon CO 79462)

Best Choral Recording -
Britten War Requiem. London Sym Orch & Chor/Richard Hickox, et al (Chandos 
CHAN 8983/4)

Best Concerto Recording -
Medtner Piano Concerto No. 2. Nikolai Demidenko, pf; BBC Scottish Orch/
Maksymiuk (Hyperion CDA 66580)

Best Historic Recording Vocal-
Covent Garden on Record Vol 1-4 (Pearl mono GEMMCDS9923/6)

Best Historic Non Vocal Recording -
Elgar Edition Vol 1 - Elgar conducting (EMI mono CDS7 54560-2)

Best Instrumental Recording -
Alkan 25 Preludes; Shostakovich 24 Preludes, Op. 34. Olli Mustonen, pf (
London/Decca 433 055-2)

Best Music Theatre Recording -
Bernstein Candide. London Symphony Orch/Bernstein et al (DG 429 734-2)

Best Opera Recording -
R.Strauss Die Frau ohne Schatten. Vienna Phil/Solti et al (London/Decca 436 
243-2)

----------------------------------------------------------------------
Hal Prentice, FM Program Manager      Michigan State University
WKAR-FM, 283 Communication Arts Bldg  East Lansing, MI 48824-1212 USA
Internet: hal@radio.wkar.msu.edu      Bitnet: hal@radio.wkar.bitnet
----------------------------------------------------------------------
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Newsgroups: rec.music.classical
Subject: Re: Berlioz
Date: 11 Nov 92 19:13:40 GMT
Article-I.D.: yuma.Nov11.191340.54380
Organization: Colorado State University, Fort Collins, CO  80523

In article <1992Nov10.180339.7222@telesciences.com> dstrait@telesciences.com (Darin Strait) writes:
>Can someone recommend a CD pressing of Berlioz's Symphonie Phantastique (sp?)
>that I can find in the local Tower Records?
>
>I am a novice at classical music, and would have grabbed the Telarc disc
>with the Baltimore (?) Philharmonic, but I am unfamiliar with their reputation.
>
>Thanks in advance.
>dms


I really like the Bernstein, on EMI (?) - I think it is best to have a somewhat
wacky conductor for this bizzare piece.  The infamous 'chop' in the 4th mvmt
always lifts me out of my seat!

Mike Hurben
Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Mozart recommendations
Keywords: Mozart, chambermusic
Organization: School of Computer Science, Carnegie Mellon
Date: Fri, 13 Nov 1992 00:23:53 GMT

In article <1992Nov12.123731.17169@hsr.no> oppen@hsr.no (Eirik Oppen) writes:
>Here are two questions regarding recordings of some chamber music 
>by W.A.Mozart, I hope to get some reply on.  I am looking for the best CD,
>in terms of sound and performance of the following:
>

>2     The Grand Partita serenade

Netherlands Wind Ensemble/Edo de Waart
Philips 420 711-2
Recorded in Amsterdam November 1968
Fabulous playing, individually and ensemblely [is that a word??]

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Quartet
From: dave.gullick@rose.com (dave gullick)
Newsgroups: rec.music.classical
Subject: Messiaen Organ Works
Date: 10 Nov 92 21:29:55 GMT
Article-I.D.: rose.1992Nov10.212958.17819
Organization: Rose Media Inc, Toronto, Ontario.
X-Gated-By: Usenet <==> RoseMail Gateway (v1.70)


Date Entered: 11-10-92 16:21

Subject: Re: Messeian recommendations?
bannistr@maths.tcd.ie (Jeff Bannister) writes:

B(:>The current organist of Notre Dame is coming to Dublin to perform on
B(:>the organ of St. Patrick's Cathedral which Messiaen himself described
B(:>as one of the best organs to perform his music on.

Oh, thats interesting, thought he would have preferred Cavaille-Coll.
Are there any Messaien recordings from St. Patrick's?

B(:>The organist, Olivier Lartry, will be performing 'La Nativite' which
B(:>is (imho) Messiaen's finest organ work, climaxing with the 'Dieu Parmi
B(:>Nous'.

Very much agree with you, don't know what other recordings are available,
but have spent many, many satisfying hours with Simon Preston's recording
of La Nativite at Westminster Abbey.
------------------------------
dave.gullick@rose.com
---
   RM 2.00 : RoseNet<=>Usenet Gateway : Rose Media 416-733-2285
From: BRIANS@wsuvm1.csc.wsu.edu
Newsgroups: rec.music.classical
Subject: Song of Majnun recorded?
Date: 7 Nov 92 20:14:08 GMT
Organization: SYSTEMS & COMPUTING

I just heard the premiere of Bright Sheng's (sp?) opera The
Song of Majnun, based on the Persian Layla and Majnun by Nizami,
with a libretto by Andrew Porter from the Chicago Lyric Opera on
NPR.  I teach Nizami's work regularly, and would love to have a
regular commercial recording of this work.  Anyone know whether
one is in the works.
 
Trivia notes: Majnun's romance is also the source for two songs
on Eric Clapton's Layla and Other Assorted Love Songs: the title
tune and "You Are Love," which actually sets Nizami's words to
music.  Students tell me Clapton's new acoustic version of Layla
is on MTV now.
From: casseres@apple.com (David Casseres)
Newsgroups: rec.music.classical
Subject: Re: Cage - The Controversy Continues
Date: 9 Nov 92 18:12:51 GMT
Followup-To: rec.music.classical
Organization: Apple Computer Inc.

In article <HTgmTB4w165w@sys6626.bison.mb.ca>, al@sys6626.bison.mb.ca (haus
der luge) wrote:
>  
> FAQ (Frequently Asked Questions About Cage) :
>  
[sorry, I have no answers to the first 5]
>  
> (6)  Exactly WHICH kind of mushroom was Cage most interested in ???

Cage was interested in all kinds of mushrooms, but like most mycophiles he
was a "pot-hunter," i.e. he went out with his mycophile friends looking for
edible mushrooms, and gathered them, and took them back to cook and eat.

This is a very special kind of hobby (which I used to do just a little bit,
which is how I came to read Cage's mushroom writings).  You spend a day out
in the cool wet woods after a rainy spell, walking very slowly and poking
about in unlikely spots.  After you've done this for a while you develop a
knack, a sense of where the mushrooms might be; sometimes you begin to
think you can sense them telepathically.  Sometimes all you find are
inedible varieties, or old, half-rotten specimens; other times you come
home with a nice big bag of assorted delicacies like morels and
chanterelles; once in a while you find something unusual and utterly
bizarre, but completely identifiable and edible, like a bunch of
Anise-Scented Clitocybe I found once, glowing translucent blue-purple and
reeking of anise.  And sometimes you misidentify something, and eat it, and
get sick; and sometimes you get so sick it kills you in great agony.

Cage said if you hunt mushrooms long enough you will eventually be poisoned
to some degree.

I think Cage's mushroom writings tell a great deal about him, and anyone
interested in Cage will find them highly rewarding.

--

David Casseres
Exclaimer: Wow!
From: midkiff@public.BTR.COM (Neil E. Midkiff  midkiff@btr.com)
Newsgroups: rec.music.classical
Subject: Re: HAYDN
Date: 13 Nov 92 02:46:02 GMT
Article-I.D.: public.8303
Organization: BTR Public Access UNIX, MtnView CA. For info contact: info@BTR.COM

In article <BxM1zF.71H@cen.ex.ac.uk> gordon@dcs.exeter.ac.uk 
(Gordon Watson) writes:
>>>>>> On 11 Nov 92 02:14:04 GMT, alan@highlite.uucp (Alan McConnell) said:
>
>Alan> Get yourself a recording of the early symphony subtitled "Evening". 
>Alan> And play the minuet.  And listen to the string bass, quite alone,
>Alan> lumber up the scale, awkwardly, yet comically, yet heavenly.
>
>Can anyone convert the "Evening" subtitle to a symphony number?


The early Symphony in G major, Hob. I:8 (often just labeled "Symphony #8")
carries the subtitle "Le Soir."  It is the third of a set of three composed
when Haydn was just beginning his services to the Esterhazy family as court
composer/conductor, in 1761.  For some reason which escapes me, they're
almost always referred to by their French titles "Le Matin," "Le Midi," and
"Le Soir."

The three are very nicely performed and recorded by Trevor Pinnock and the
English Concert on Archiv 423 098-2, by the way.

Enjoy!
-Neil
From: barry.copeland@synapse.org (Barry Copeland) 
Newsgroups: rec.music.classical
Subject: Re: HAYDN
Date: 12 Nov 92 06:37:00 GMT
Distribution: world
Organization: SYNAPSE BBS - GATINEAU, QUEBEC - 819-561-4321
Reply-To: barry.copeland@synapse.org (Barry Copeland) 

To: rec.music.classical
From: barry.copeland@synapse.org

DB> I must have missed one of the symphony cycles: much as I hate to
DB> disagree, but I thought the Dorati was still the only complete
DB> cycle. (Gobermann started one but died before he could finish it).
DB> I'll be interested in being proved wrong.

I think Derek Barker is correct here.  To my knowledge the
Dorati cycle is the only complete one thus far.  Adam Fischer
with the Austro-Hungarian Orchestra (Nimbus) is almost complete,
and Hogwood/Academy of Ancient Music and Goodman/Hanover Band
are about one-third through.  Bruno Weil and Tafelmusik Baroque
Orchestra (Toronto) have just released the first two disks of
what is supposed to be a complete cycle.

Barry

---
 . ACCESS/MAIL 1.01. #00019 . From Nepean, Ontario
                                                                                       
Newsgroups: rec.music.classical
From: sue@sunbeam (sue cross)
Subject: Re: It's in the wrists.
Reply-To: sue@sunbeam (sue cross)
Organization: tekelec.com
Date: Wed, 11 Nov 1992 18:58:26 GMT

It's my understanding that Beethoven (who stood about 5'4") had rather small 
hands (he apparently could just barely reach a tenth) but that the webbing 
between the fingers was very flexible, allowing him to do things inside that 
span that are difficult for most of us. He was considered one of the great 
piano virtuosi of the late 18th/early 19th century (until deafness forced his 
retirement from the performing).

As your message title indicates, I've found it essential to keep loose while 
I'm stretching to reach a chord.   

My reach has expanded from barely an octave to a fairly solid tenth--if I 
stay loose.


Sue

sue.cross@tekelec.com
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Messiaen on Organ (was Re: Messeian recommendations?)
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Thu, 5 Nov 1992 18:49:51 GMT


In article <100681@bu.edu>, jaeger@buphy.bu.edu (Gregg Jaeger) writes:
|> In article <1992Nov5.004644.6263@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
|> 
|> > Messeian was quite a mystic, and 
|> >he took Catholic mysticism into a very weird and beautiful world
|> >that still sounds shockingly modern.
|> 
|> When I was last at _Notre Dame_ the organist was playing something
|> I _swore_ was Messiaen. It was incredible hearing music like that
|> in such a space. Does anyone know how the music played there is
|> chosen and/or if it's likely that it was indeed a Messiaen work
|> that I heard performed?
|> 
Hard to say, but it may have been. Messiaen composed a fair amount of
stuff for organ, I believe.

- BK
From: del_col@ab.wvnet.edu
Newsgroups: rec.music.classical
Subject: Crochet's Satie on CD?
Date: 5 Nov 92 09:22:47 GMT
Article-I.D.: ab.1992Nov5.142247.644
Organization: Alderson-Broaddus College

Has Evelyn Crochet's recording of Satie's piano music been released on
CD?  It was a Phillips recording.  My copy is not in good shape, and I'd
like to get it on CD if possible.

Jeff Del Col
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: KDFC - a question.
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 9 Nov 1992 17:03:18 GMT

In article <1992Nov7.061721.20323@netcom.com> jfh@netcom.com (Jack Hamilton) writes:
>high percentage, but not zero.  I know I've heard Glass and Messien
>(however it's spelled - nothing looks right) and lots of other modern

Messiaen.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.


Newsgroups: rec.music.classical
From: mjw@Xenon.Stanford.EDU (Michael Wolverton)
Subject: Re: KDFC - a question.
Organization: Computer Science Department, Stanford University.
Date: Fri, 6 Nov 1992 05:29:40 GMT

In article <Nov.5.20.39.08.1992.8759@blaze.rutgers.edu> zhu@blaze.rutgers.edu (Yi Zhu) writes:
>There is this station KDFC whose announcer practices a peculiar way of
>radio hosting.  Before and after a piece is played, he would give the
>usual info about the number, then a pause, then almost as an
>afterthought, adds a 4 digit number, e.g. 1865, 1934, 1786.  I found
>it quite odd, after a couple tunes, I figured out that it is the
>year in which the piece is completed.  So here is the million dollar
>question: Knowing the year(assuming you know what that number means),
>does it help enhancing your enjoyment or understanding of the music
>in any way?

Definitely. When they're playing a piece that I don't know by a
well-known composer, it's nice to place the piece within that composer's
output (early, middle, late). And when they're playing a piece by a
lesser-known composer (which is unfortunately a specialty of this radio
station -- Spohr, Bax, Berwald, etc.) it's nice to find out when that
composer lived. 

>Incidentally, the same DJ seems to be there all day, and possibly all
>night, with the same monotonic voice.  He'll definitely have a hard
>time making it in the New York market, just think all the commercials
>they can jam in if it weren't for the pauses and the numerics that Mr.
>DJ sprinkles throughout the day.   8-)

It turns out that he's not live, and he's probably not in the Bay Area at
all. I was in Milwaukee recently, and I found the local classical station
there. After the piece finished, who comes on but the same monotonic KDFC
guy! It must be some kind of national rent-a-bore recording service.  Hey,
I'm sure it's cheaper than paying the salary of a live human.

-Michael
-- 
--------------------------------------------------------------------------
Michael Wolverton                       "Is that clear?"
mjw@cs.stanford.edu                     "No, but it's consistent!"
--------------------------------------------------------------------------
From: hellerS@moravian.edu (sjh)
Newsgroups: rec.music.classical
Subject: Re: Grosse Fuge Op.134 ?
Date: 11 Nov 92 15:25:35 GMT
Distribution: na

In <1992Nov11.221521.4006@ucsvc.ucs.unimelb.edu.au> u6404369@ucsvc.ucs.unimelb.edu.au writes:

>Does anyone know of a recording of Beethoven's own piano duet
>arrangement of his Grosse Fuge i.e. op 134

There appear to be 2 listed in Opus. One is on Thorofon CTH 2022 and
includes the op.126 Bagatelles and other late piano pieces; the other one
is played by Alfred Brendel and D. Barenboim, on Arkadia, but I now see
that it is the version for 2 pianos rather than 4-hand piano. It appears to
have 4 piano trios and the string version of the fugue, 2 CDs (CDHP 589).
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Brahms
Organization: Open Software Foundation
Date: Fri, 13 Nov 1992 17:34:50 GMT

|> probably have been mahler, mozart, wagner, and britten.  :-)  )

Linking these thoughts, I think BB once said that he listens to some Brahms
about once a year, to make sure that it is as horrible as he remembers.  I
don't know if this is authentic, or if it is, what words he used?
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Allberall und ewig blauen licht die Fernen!  Ewig... ewig... earwig... O!
Organization: Sophomore, H&SS general, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.classical
Date: Fri, 13 Nov 1992 00:52:46 -0500 
From: Aaron Paul Kozbelt <ak3s+@andrew.cmu.edu>
Subject: Re: Bernard Shaw quotes (was: Brahms)
	<12NOV199213190783@portal.lasc.lockheed.com>

In article <BxM4Gt.Dtn@cmcl2.nyu.edu>, tony@cns.nyu.edu writes...
>I can't resist adding George Bernard Shaw's view of Brahms to this (quoting
>frommemory): "Brahms is like a gigantic baby, who insists on dressing himself
>up as Bach or Handel, and making a prolonged and intolerable noise".
> 
GBS also had a couple gems re: Wagner.  He reported to a friend that he had
just heard Wagner's Ring, "and lived".  And he also maintained that "Wagner's
music is not as bad as it sounds."
 
There must be many other memorable quotes about music, composers, etc.
I'd like to hear others.
 

*Others that I've heard include:

something about Sarastro's arias from Die Zauberflote being the only
music worthy of coming from the mouth of God

Das Rheingold containing "the whole tragedy of human history"

Also, Schubert's Ninth being "the most brainless composition ever put on paper"

Others?

Aaron






 

Newsgroups: rec.music.classical
From: b-grant@nwu.edu (Barry Grant)
Subject: Re: Cage's 4'33"
Followup-To: rec.music.classical
Organization: Northwestern University
Distribution: usa
Date: Thu, 12 Nov 1992 19:10:15 GMT

If my recollection of the description of 4' 33" on the Hat art double CD of
Cage's timed music is correct (and if the description is correct), then at
least some of the responses to requests for the "best" version of the
recording ( and the common conception of the piece) are based on a
misunderstanding of the piece. 4' 33', as I recall, requires the performer
to perform a disciplined act for 4'33". So, the piece is not a brief period
of silence or ambient noise/music, but a brief period of a performer doing
intently anything of his or her choice for a short period. Some choose to
sit quietly, hands at their side. The Hat art recording consists of 4' 33"
of rather horrible electronic noise. The rest of the pieces on the CD are
great, but the 4" 33" makes me want to rip my ears off.


Barry Grant
Northwestern Univesity
Evanston, Illinois
b-grant@nwu.edu
Newsgroups: rec.music.classical