HDTenEightyP/NetNews huggingface dataset:
From: elw@mayo.edu
Subject: Re: buying a trumpet
Reply-To: elw@mayo.edu
Organization: Mayo Foundation
Date: Tue, 22 Dec 92 13:49:19 GMT


I would reccomend that you have a good trumpet player friend and
or the intended reciient of the trumpet help pick it out,  there
is just to much variation from one instrument to another.  A Bach
Stradivarius (probabably ML bore) would be a good choice.

#include <disclaimers.h>
(my employer probably has no opinions about trumpets)
-------------------------------------------------------
Ellis Workman                   Internet:  elw@mayo.edu
Biomedical Imaging Resource
Mayo Clinic/Foundation          Talk:    (507) 284-4435                  
Rochester, MN 55905             FAX:     (507)-284-1632

Principal Trumpet: Rochester (Minnesota) Symphony Orchestra
-------------------------------------------------------

Newsgroups: rec.music.classical
From: ceb@dbrus.Unify.Com (Caroline E. Bryan)
Subject: Re: Looking for Classical Wedding Music
Organization: /usr/lib/news/organization
Date: Mon, 21 Dec 92 18:00:06 GMT

In <1992Dec18.212536.11183@sco.com> md@sco.COM (Michael Davidson) writes:
>
>mixterhp@appstate.edu (Perry Mixter ) writes:
>
>>In article <1992Dec17.164602.14299@hubcap.clemson.edu>,
>>jayc@hubcap.clemson.edu (Jay Crawford) wrote:
>>> 
>>> I'm getting married in June in a small church that has a nice pipe organ.
>>> My fiance and I would like to open the ceremony with 30 minutes or so of
>>> music, as well as have the entrance and exit with nontraditional music.
>>
>>Bach	     Air on a G String or almost anything by Bach
>>Handel    Selections from Water Music
>> ... Finale from Widor's Symphony #5 (Toccata)
>... Bach trio sonatas (numbers 5 and 6, for example)
>... Bach Sinfonia from Cantata 29 
>... Dupre Prelude and Fugue in B major (Op 7)

These are all fine and dandy, but I believe Mr. Crawford had said in his
original post that the church allows classical music ONLY if it is sacred.
Of all the pieces suggested it seems to me that only the Bach Sinfonia from
Cantata 29 might qualify (I'm not familiar with Bach's cantatas but recall
vaguely that an awful lot of them are based on Biblical verses).  Can anyone
suggest any *sacred* organ music that isn't played to death at weddings?


Carrie		ceb@rechenau.unify.com	x6244
+-------------------------------------------------------------------------+
| "Of life the mingled wine and brine I sit and sip pipslipsily." - Anon. |
+-------------------------------------------------------------------------+
From: v035550@stortek.com (Steve Monroe)
Newsgroups: rec.music.classical
Subject: Opinions sought: Beethoven's Late String Quartets
Date: 21 Dec 92 19:48:05 GMT
Organization: Storage Technology Corp.  Louisville, CO
Originator: v035550@stcvax

I am  interested  in opinions on
recordings of Beethoven's "late"
string quartets.

Favourites? recordings to avoid,
etc. 

Please post or email response,
your choice.

Many thanks,

sjm
From: bcc@tools8teradata.com (Brian Cantin)
Newsgroups: rec.music.classical
Subject: Re: Harnoncourt and Svedja
Date: 24 Dec 92 21:48:45 GMT
Organization: NCR/Teradata Business Unit

In article <1gtlk3INNdnd@gap.caltech.edu>, rmw@cco.caltech.edu (Richard M. Wilson) writes:

|> In article <Dec18.182047.62365@yuma.ACNS.ColoState.EDU> hurben@lamar.ColoState.E
|> DU (Mike Hurben) writes:
|> >  This also brings up the question of what to think of JS.  
|> 
|> IMHO, Nikolaus Harnoncourt is a genius.  I don't like everything he
|> does, but he has impressed me with his insights over and over again.
|> 
|> One of the reasons that I stopped subscribing to KUSC here in LA is Jim
|> Svedja.  He is interesting to listen to in moderation, but when he came
|> to be in charge of the early evening program, my favorite listening
|> time, that was it;  I don't listen to KUSC anymore.  I can't imagine
|> anyone with taste that is more different than mine.  For example, when
|> he deigns to play Baroque music or Mozart at all, it seems always to be from
|> recordings made in the 60s.

The evening program that Sveda puts on KUSC is one of few rays of intelligence to found on the radio.
He plays many recordings from the sixties because he recognizes that most of the centuries great conductors
were dead by the mid-seventies (Walter, Reiner, Barbirolli, Klemperor, Ansermet, Krips).
-- 
Brian Cantin
Newsgroups: rec.music.classical,rec.arts.movies
From: dvldbg@cs.umu.se (Daniel Brahneborg)
Subject: James Galway at the movies?
Organization: Dept. of Computing Science, Umea Univ., 901 87  UMEA  SWEDEN
Date: Wed, 30 Dec 1992 20:20:58 GMT

I bought a CD with James Galway (The Enchanted Forest, Melodies of Japan),
and my sister keeps saying that the first song on it (Into the Forest) was
used in some movie (propably shown on TV). Neither she nor I know which
one, though. Anybody have any ideas?
(Or hints for better newsgroups...)
All my previous memories of this song is long gone by now, as I've listened
to it quite a lot these last few days...

/Basic

Newsgroups: rec.music.classical,rec.music.early
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: Re: *Very* early music
Organization: HAC - Johns Hopkins University, Baltimore
Date: Tue, 22 Dec 1992 22:20:26 GMT

In article <1992Dec22.190732.18246@Princeton.EDU> mikulska@astro.princeton.edu (Margaret Mikulska) writes:
>In article <1992Dec22.180113.6104@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
>>[...]
>>specialized in musical notation and ancient scores, which took her through 
>>ancient history, ceramology [sic], iconography, epigraphy, organology [sic],
>>and even Greek mathematics and philosophy; [...]
>
>Out of curiosity: why did you put [sic] after "organology"?  It's only
>natural (in this context) that she studied the history of musical 
>instruments.

Because I was translating from the original text in French, and I wasn't 
too sure the words were the same in English. As a matter of fact, ceramology
is not in the OED (organology is, of course; apologies to organologists 
worldwide). I suppose it means the study of ceramics.

-- 

	Francois Velde

Newsgroups: rec.music.classical,bit.listserv.allmusic,ne.general
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Sharon Lavery Stars in NEC Clarinet Recital in Boston
Organization: Mail to News Gateway at Wang Labs
Date: Tue, 22 Dec 1992 21:58:23 GMT

Cambridge, MA--December 14, 1992--The New England Conservatory's
Sharon Lavery thrilled a very enthusiastic audience last night with her
Masters of Music recital, accompanied by impressive violin
performances by Carolyn Kalhorn and Louise Owen, among others.

Lavery started off with Mozart's Quintet in A Major, K.581 and, after
intermission, switched to Rozsa's Sonatina for Clarinet Solo, Op. 27.
These successes were followed by Debussy's Premiere Rhapsodie and Arnold's
Sonatina for Clarinet and Piano.  She then demonstrated her versatility
by concluding with a modern Bill Douglas piece, Sky, accompanied
by keyboard, base and drums.  It was an altogether enjoyable evening.
Big things can be expected from this talented performer as she pursues
her clarinet career at home in New York.

Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: cd prices
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 31 Dec 92 16:54:43 EST

To: bob.warren@canrem.com

BW>     The other day while Christmas shopping I noticed on a magazine
  >  rack a CD catalog from a local firm called CDplus, or cd-PLUS, or
  >  something like that. I think they're in Mississauga off Dundas
  >  but haven't actually been there.

BW>    Have you checked them out ? Can you get a good deal there ? Is it
  >    a form of club ?

No, not a club. They've been around for quite a while. I haven't made
use of the service ... I really like in-person shopping. As I live in
downtown Toronto, this is an easy "everyday sort of thing to do. The
catalogue prices are actually not bad at all, especially for anyone
subjected to non-Yonge & Dundas prices! Seems to me DGGs, to take a
common example, were well under $20 ($17.99? $18.99?). Provided one buys
three or four at a time, in order to spread the delivery cost out, this
makes for a competitive purchase. I have no idea what the waiting time
might be though.

Tell me a litte more about your music interests. You might be better to
use private mail. You can upload to U-Classic but mark the entry private
and enter the FIRST line of your message as:

To: alexander.inglis@canrem.com

then leave one blank line before entering text. I think your message to
me went worldwide .... <g>!

PS Thanks for the mention over on L-Mozart BTW ...!

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: rafem@gvlf7-e.gvl.unisys.com (Ralph Marrone)
Subject: Re: Saxophone, use of -
Organization: Unisys Defense Systems, Great Valley Labs, Paoli, Pa
Date: Wed, 23 Dec 1992 15:35:35 GMT

In article <1992Dec22.095212.26084@ulci20.unil.ch> jwenger@ulci06.unil.ch () writes:
>
>Dear net.folks,
>
>Friends and I were chating about music in general, and saxophones in
>particular. No one could mention a piece of classical music, orchestral,
>chamber or other, where one or more sax were used. Can you?
>I'll post the consolidated list of your answers, as soon as I get something
>publishable.
>Thanks in advance, a merry Xmas and happy Newyear to all.
>
>					Jacques


One of the suites of _Pictures At An Exhibition_.  I think it's
_The Old Castle_.


Saxophone Concerto by Erik Laarsen (sp?) on the BIS label.



Regards,

Ralph Marrone
From: ladasky@netcom.com (John J. Ladasky II)
Newsgroups: rec.music.classical
Subject: Re: Carnival of the Animals
Date: 31 Dec 92 02:54:47 GMT
Organization: Netcom - Online Communication Services (408 241-9760 guest)

In article <92364.121702LAURA@UCF1VM.BITNET>,
LAURA@UCF1VM.BITNET (Laura Kittleson) writes:
>A long time ago, in a town far far away, I used to listen to
>a radio station that would occasionally play a recording of
>Saint Saens' Carnival of the Animals, in which Noel Coward
>read verses written by Ogden Nash, relevant to the work.  I
>cannot find this recording in any music store, catalog, in
>Penguin or Schwann.  Asking music store employees has not been
>at all helpful.  Does anyone know where I could find (for
>purchase) a CD recording of this work?  How about the ones
>I've heard OF in which Hermione Gingold and Grace Kelly (two
>separate recordings) read Nash's verse?

	Well, there's always the cheap imitation! :^)

	If you have a sense of humor about classical music, try
"Carnival of the Animals, Part 2"  by Weird Al Yankovic and 
Wendy Carlos.  No, it's not the original music, but it's amusing.


-- 
== John J. Ladasky II ("ii") ========================= ladasky@netcom.COM ==
"Great composers do not borrow -	     "Talking about music is like
 they steal."  - John Ladasky	      ~ -     dancing about architecture."
(quote stolen from Stravinsky, who    o o     - Elvis Costello?  Laurie
 stole it from a statement made by     >        Anderson?  Frank Zappa?
 Pablo Picasso about painting, who    \_/    -------------------------------
 stole it from...)			     "Property is theft." - Groucho
============================================================================
Newsgroups: rec.music.classical
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Re: The BEST finale!
Organization: Dept. of Mathematics, U. of Chicago
Date: Tue, 22 Dec 1992 17:46:27 GMT

In article <1992Dec22.154744.3519@walter.bellcore.com> broken@venison.bae.bellcore.com (Tony Brokenborough) writes:
>(stuff deleted)
>Oh please shut up !!!!!!
>
>99% of the people on the net HATE's Bruckner's music. Even his contempories
 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Huh? Are you serious? It would be interesting to conduct a poll, but a
priori I'm not inclined to trust your figure.


>and the critics of his day hated his music. Whenever his music was critisized,
>he changed it !!!  That's why there are numerous 'originals' to many of his
>works. (The 'Bruckner problem' !!!!! )
>
>I guess you haven't read the article posted here which talks about one 
>performer getting PHYSICALLY ILL after playing some of Bruckners junk !!! 

My dear friend, while you are entitled to an opinion, you are getting
somewhat denser than average on this issue. If your aim is to convince
others that *you* hate Bruckner passionately, well, point taken, *you*
hate him, the rest of the world knows it, and that's that. You have
exercised your right to free speech. Finis. But if you are out to
convince others to start hating Bruckner themselves, you are going to
have to do better than you have so far; for example, you could tone
down your inflamed adolescent rhetoric and give us some cogent
arguments instead.

On a related note, why don't you submit your postings to
alt.obnoxious.bruckner.bashers? Surely the signal-to-noise ratio in
this newsgroup would improve, and your rantings would find a
receptive audience.
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Bach Vocal Competition
Date: 2 Jan 93 03:17:53 GMT
Organization: Digital Systems Co., Atlanta GA

[The following is posted as a public informational service to the
readers of 'rec.music.classical']

BACH VOCAL COMPETITION

  _Musica Sacra_ [New York City], directed by Richard Westenburg,
announces its seventh Bach Vocal Competition.
  FIRST PRIZE is an appearance in Musica Sacra's 1993-1994 season,
for which a $600 fee will be paid to the winning singer. Second
prize is a cash award of $200.  There are no age restrictions.
There is a $25.00 entry fee.
  The competition is in two phases: 1) a submission of application
and taped materials. 2) a live audition of finalists in New York.

STEP ONE:

  To apply, submit a brief letter of application, including your
training and experience.  Include one brief letter of recommendation
if you wish.  Enclose a cassette tape recording containing three
contrasting Late Baroque arias, including at least one by
J.S. Bach.  (Recitatives related to these arias may be included if
desired.)  Selections should be sung in the original language, if
possible.  List on the tape label the names of the works and
composers, the larger work from which each piece is taken (if
any), the collaborators (pianist, conductor, orchestra, etc.),
basic details if the tape is from a live publicperformance, and
your name, address and telephone number.  Enclose a check for
$25.00 (entry fee) made payable to Musica Sacra.
  Mail all materials to Musica Sacra -- Bach Vocal Competition,
165 West 86th Street, New York, NY 10024.  If you wish to have
tapes returned to you, enclose a self-addressed, stamped mailer.
DEADLINE:  Application materials are due January 15, 1993.

STEP TWO:

Finalists will be notified by February 16, 1993 and live final
auditions will be held on March 10, 1993 at CAMI Hall in New York
City.  Final auditions will be judged by a panel that inclues
Richard Westenburg, another conductor, a singer and an artists'
representative.  Music Sacra will provide an accompanist upon
request, or you may bring your own.  Be prepared to sing three
Late Baroque arias, plus related recitatives.  These need not be
the same as those submitted on your cassette tape.

*****

[NOTE: Further information is NOT available by e-mail.  Please
contact Musica Sacra directly if you have any questions.  Thanks.]

*****

Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu
=====
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: male alti, counter-tenors, castrati, and so on
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 24 Dec 92 16:35:14 GMT

In article <1hbsk5INNdb4@mizar.usc.edu> adolphso@mizar.usc.edu (adolphson) writes:
>In article <1992Dec23.150355.24969@jhunix.hcf.jhu.edu> 
>velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
>
>>Related question: what did a castrato sound like: a soprano or a countertenor?
>
>Neither.  They sounded like boy sopranos, but the voices were
>powered by adult lungs.  Moreschi, the only castrato to have
>made recordings, sounds quite unlike any other singer I've
>ever heard.  In _The Record of Singing_, Michael Scott claims
>that Luisa Tetrazzini had something of a castrato sound, and
>Toscanini said that the young Ethel Merman sounded just like
>the castrati in the Vatican choir he'd heard as a boy.
>

I suspect some castratos also sounded like boy altos.
For instance, I recall in Handel's Flavio, he composed parts for 
a male soprano and male alto (both castratos), and a countertenor,
among other male and female vocalists.

A question I would have is that it seems fairly common
for the roles kings and emperors and such to have been set
for castrato soprano.  Is there a known reason for this?

John D.

Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: Re: RFV: Bruckner Re: The BEST finale!
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Mon, 28 Dec 1992 18:45:24 GMT

In article <BzwH09.n2n@comp.vuw.ac.nz> sowhat@gphs.vuw.ac.nz (Christian Zick) writes:
>In article <1992Dec26.191324.7124@spang.Camosun.BC.CA>, dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:

>> : I must admit that I had the feeling of having cleaned up my record collection
>> : when it contained no more Bruckner.
>> 
>> The loss is entirely yours.....
>
>  This is your perception ....
>


Not really. Any music that you can't enjoy is a loss to you.


>Christian Zick
>sowhat@gphs.vuw.ac.nz


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: survey: favorite piano co
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 22 Dec 92 14:54:07 EST

  >    Subject: SURVEY: FAVORITE PIANO CONCERTO

JG>I must admit I'm starting to enjoy these "Greatest All-Time" and "Favorite"
  >threads, so I'm starting another one.  :-)   The question is, What is your
  >favorite piano concerto?

JG>And a very important sub-question: What's your favorite *Beethoven* piano
  >concerto?

Everyone knows the 4th is the greatest of Beethoven's ....

No record collection should be without Barenboim/Klemperer in this work.
The slow movement in their hands is as heavenly as music gets.

Among great 5ths, Michelangeli/Celibedache/Paris make a good choice or
Fischer/Furtwaengler in studio.

The 3rd is pretty rousing, too: You might try the often overlooked
Pollini/Boehm.

The 1st has rarely sounded as good a work as in Gould/Golschmann's hands
... for that matteer, Gould/Bernstein in the 2nd is a great treat too!

As for other composers ... won't someone nominate Brahms 1 and 2?

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical,rec.music.early
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: *Very* early music
Summary: Ancient Greek and Roman music
Organization: HAC - Johns Hopkins University, Baltimore
Date: Tue, 22 Dec 1992 18:01:13 GMT

Talk about early music on period instruments, this goes pretty far.

The following is a loose translation of an article in the French
"Journal du CNRS", dec. 1992. It describes a concert of 2d cent. BC music
given recently in Athens.

"The Greeks were crying, everyone was very moved. Me too." And for a 
good reason: last September, Annie Belis conducted, for the first time,
the two great hymns to Apollo engraved on the walls of the Treasure of the
Athenians in Delphi in 128 B.C.  "And on the site of their creation..."
It took this young musical archaeologist 15 years of work to reach her
goal: play the true pieces of music from the Greek and Roman Antiquity,
and on copies of period instruments. A real marathon for this musican,
specialized in musical notation and ancient scores, which took her through 
ancient history, ceramology [sic], iconography, epigraphy, organology [sic],
and even Greek mathematics and philosophy; all of which allowed her not only
to read the scores and rediscover the vocal techniques, but also to recreate
the instruments with the help of the luthier Jean-Claude Condi. Relying on 
contemporary depictions, and using the same media and the assembling techniques as in Antique times, they recreated Greek lyres, two large kitharas, a
kroupeza (foot-activated percussion) and a tympanon, a large drum based on a 
Pompei fresco. All that remained was to listen to this music, ranging from the
5th century BC to the second century AD.  Annie Belis now conducts a vocal
and instrumental ensemble, Kerylos. The group was the one playing in Delphi. 
"There were 25 of us, playing and singing in unisson. A difficult exercise, 
for a very peculiar music, sometimes with five beats and unusual intervals. 
The singers must be vocal athletes. But it is not just a tour de force:
this music is beautiful and the texts are magnificent!" To have an idea 
of what this music sounds like ("it is like nothing else, except perhaps
Alban Berg when he is really great...") no recording, but a concert in
Metz on June 6, and a show on France Musique on December 13.
Contact: 
Annie Belis, Institut de Recherche et d'histoire des textes, Metz, France.
	phone: (33) 87 36 41 52.


-- 

	Francois Velde

Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Newsgroups: rec.music.classical
Subject: Re: HELP: music quiz
Date: 23 Dec 92 19:39:43 GMT
Organization: HAC - Johns Hopkins University, Baltimore

In article <1992Dec22.150907.7760@linus.mitre.org> rwilmer@carrier.mitre.org (R. Wilmer) writes:
>In article <1992Dec22.000824.18082@csis.dit.csiro.au> tsui@csis.dit.csiro.au (Kenneth Tsui) writes:
>>
>>16. THE Barber of Seville, The Marriage of Figaro ... what is the third in
>>    the sequence, and who set it as an opera?
>
>The Opera is Cherubin by Massenet.  Is the play La Rencontre Imprevue?

The play is La Me`re Coupable, and Darius Milhaud wrote an opera
on a libretto by Madeleine Milhaud from that play.

La Rencontre Impre'vue is the title of a work by Gluck on a libretto by 
d'Ancourt, also used by Haydn (l'Incontro Improvviso).

Massenet's Che'rubin is on a opem by Francis de Croisset and Henri Cain.

>>17. What operas are set in : (d) the Moon?
>
>Orff's Der Mond?

Haydn's Il Mondo della Luna?
Offenbach's Le Voyage dans la Lune?

-- 

	Francois Velde