HDTenEightyP/NetNews huggingface dataset:
From: finkel@sdi.com
Newsgroups: rec.music.classical
Subject: Re: Shostakovich's musical joke
Date: 1 Sep 92 18:50:25 CDT
Organization: Systems by Design of Illinois (SDI), Chicago

In article <1992Aug26.210718.23583@Princeton.EDU>, mikulska@bessel.Princeton.EDU (Margaret Mikulska) writes:
> In article <chomicki.714861404@antares.cis.ksu.edu.cis.ksu.edu> chomicki@cis.ksu.edu (Jan Chomicki) writes:
>>
>>Apparently, Shostakovich set an example of Soviet stalinist music
>>criticism (dumping on degenerate Western music etc.) to some
>>deliberately crude but "politically correct" music. The resulting
>>piece is supposed to be hilarious.
>>
>>Does anyone know its name and the available recordings?
> 
> The piece is "Rayok" (spelled /r-a-yo-k/, that is, with the Russian
> single character for 'yo') or "Learner's Manual".  (The title means 
> "gallery", as in a theatre.)  It's written for 4 bass voices, choir, 
> and piano - a "satirical cantata" in the form of a discussion, sort of,
> what kind of music _should_ be written and what kind is "degenerate" and
> to be avoided.
> 
> There is a recording on ERATO, containing two versions of the piece: one
> sung in Russian, the other one, in English.  (The piece is rather short, 
> below 20 min., which gives you a less than 40 min. full-price CD.)
> 
> Personally, I think this work is a bit heavy-handed.  I wouldn't call it
> "hilarious".  It does have its amusing moments, but on the whole, I was
> a bit disappointed.
>...

Folks,

	 If I recall correctly, what *are* hilarious are the "notes
	 from the publisher", which describe how this work was
	 'discovered' floating in a pool of human excrement by a
	 party official who, in trying to retrieve them, fell in.  It
	 was not possible to save him because no one could tell the
	 difference between the excrement and the party official.

	 In fact, these "notes" were written by Shostakovich himself.
	 Also, I think that the lyrics are taken verbatim from
	 political discussions within the Ministry of Culture (or some
	 other bureau).

	 Perhaps I'm thinking of another Shostakovich contata, but I
	 believe this is it.  It's worth getting just for the notes.

/Joel

-- 
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
		     vote for RON DANIELS for president
  Joel R. Finkel   Systems by Design of Illinois (SDI) 	 finkel@sdi.com
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Newsgroups: rec.music.classical
From: meyer@uuisis.isis.org (Katherine Meyer)
Subject: re music Guide
Organization: International Shared Information Service (Ottawa)
Date: Sat, 29 Aug 92 01:47:18 GMT

d read
{Jonathon?) Kramer: Listen to the Music
Katherine
MEYER@UUISIS.ISIS.ORG
From: dean@pico.OZ (Dean Economou)
Newsgroups: rec.music.classical
Subject: Re: Bach undervalued? (was: Beethoven - overvalued?)
Date: 3 Sep 92 03:06:16 GMT
Organization: Comp Sci, Uni. Western Australia.
X-Newsreader: Tin 1.1 PL4

I agree it's silly to talk about "greatest composers".  It's also silly
to worry about whether they were influenced by the work of their
predecessors.  Bach wrote variations on works by almost anyone he could
find (including his own works).  He re-wrote many concertos by Vivaldi
and was greatly influenced by Schutz too.  All this does nothing to
diminish his greatness, and no doubt explains part of it.

Cheers,
Dean

(email: dean@qpsx.oz.au) 
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: records-database
In-reply-to: mikulska@crux.Princeton.EDU's message of Mon, 31 Aug 1992 19:01:43 GMT
Organization: pubs
	<1992Aug31.190143.6161@Princeton.EDU>
Date: 31 Aug 92 15:37:00 CDT


I wrote:

   >...  My main aim for a recordings database would be to
   >eliminate redundant typing while allowing complete flexibility in
    ^^^^^^^^^^^^^^^^^^^^^^^^^^
   >how the data is retrieved.  I think this aim requires a fully relational
   >database (such as Alpha 4, Personal RBase and not many others).  
   >In other words I would have separate tables of recordings (by number),
   >performers, composers, works, etc. ...

Margaret Mikulska) writes:

   I think that it's really an overkill to use a heavy-duty commercial
   database.  I don't think that data about recordings are complex, and in
   my greatly biased opinion a flat ascii file plus a few UNIX tools ...
   The really hard part is typing in the entries.
   ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

As I said to Bill P, I think your last sentence (as quoted) argues
against those preceding.  In a flat file I have to type like this:

  Beethoven  Symphony 5  >  Toscanini  >  NBC Orchestra  >  RCA 1234
  Beethoven  Symphony 5  >  Toscanini  >  BBC Orchestra  >  EMI 5678

etc.  You have to keep typing the same information over and over.  In
the above case, you could copy a line and make modifications, but in the
general case you'd be doing a lot of extra typing.  With a table-based
system, the table of recording numbers points at items in the other
tables.  That doesn't mean it's a trivial job, but it has got to be
better than the flat-file approach.

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: chem91@Jane.UH.EDU ("Bill Harrison (713)-743-2789")
Subject: Re: Disc recommendations wanted
Reply-To: chem91@Jane.UH.EDU
Organization: University of Houston
Distribution: rec
Date: Tue, 25 Aug 1992 21:23:58 GMT

In article <1992Aug25.185739.8251@fid.morgan.com>, steve@fid.morgan.com (Steve Apter) writes:
>In article <TML.92Aug25200227@tiuhti.tik.vtt.fi> tml@tik.vtt.fi (Tor Lillqvist) writes:
>>I have noted that previously when people have posted recommendations
>>for contemporary music here, I often have liked the music, and bought
>>the CD (if I have found it here).  For instance, I hadn't earlier
>>heard of John Moran. Then somebody here mentioned his Mansion Family
>>opera. I came across it a few weeks later, remembered the
>>recommendation, listened to it, liked it, and bought it.
>>
>>Please post more recommendations for CDs with contemporary music by
>>(relatively) obscure composers! Is there any magazine that specializes
>>in "modern" and contemporary music, without being too theoretical? I
>>have read one issue of "Wire", but it is maybe a bit too
>>jazz-oriented.
>>--
>>Tor Lillqvist,
>>working, but not speaking, for the Technical Research Centre of Finland
>
(IMHO) _Tempo_ is a very good magazine (or "journal") devoted to contepmary
music. It's published quarterly by Boosey and Hawkes and costs a reasonable
(approx) 10 UK pounds or 20 US dollars per year to subscribe. Most academic
music libraries probably have it.

_Tempo_ contains articles on all aspects of contempary music (people, works,
places), general news and record reviews. The style on the whole is not over-
technical. It can even be eclectic -- in the latest issue Phil Lesh (bass
guitarist of _The Grateful Dead_) reviews Harrison Birtwistle!!

Enjoy,
Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: John Cage is Dead
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 27 Aug 1992 00:09:40 GMT

In article <1992Aug26.223349.3268@nuscc.nus.sg> smoliar@iss.nus.sg (stephen smoliar) writes:
>In article <1992Aug26.163758.10503@fid.morgan.com> steve@fid.morgan.com (Steve
>Apter) writes:
>>In article <1992Aug26.113912.8009@nuscc.nus.sg> smoliar@iss.nus.sg (stephen
>>smoliar) writes:
>>
>>						  (You can also learn a bit
>>>about Heidegger;  but since Heidegger ALSO had Nazi connections, I guess you
>>>would deem such education either detrimental or worthless.)
>>
>>I expect you mean "from Heidegger", else what follows doesn't seem to 
>>follow at all.  (Well, I suppose that, caught up as you are in "furious-
>>debate" mode, you didn't have time to review what you had written.  You
>>certainly didn't take the time to read my original reply to your reply
>>to my initial posting.)
>
>I meant what I wrote.  The Minnesota collection includes de Man's "Heidegger
>Reconsidered," which he wrote in 1964.  Unless you feel you have nothing more
>to learn about BEING AND TIME, you might want to check it out.  Meanwhile, I
>suggest you follow your own advice about thinking before writing.

Based on my remarks about Cardew's politics you assumed that I wouldn't be 
interested in hearing his music.  I said, very clearly, that I am interested.
Because you seemed to assume that political opinions and opinions about
art must interact very closely, I made a point of stressing that, in my
case at least, they don't.  Since you persist in making patronizing remarks
like the one above concerning Heidegger, I draw the (charitable) conclusion
that you are, at this point, only interested in debating.  Too bad.

>Stephen W. Smoliar; Institute of Systems Science
>National University of Singapore; Heng Mui Keng Terrace
>Kent Ridge, SINGAPORE 0511
>Internet:  smoliar@iss.nus.sg
From: k@west.darkside.com (K)
Newsgroups: rec.music.classical
Subject: Defending Cage
Date: 25 Aug 92 16:32:06 GMT
Organization: The Dark Side of the Moon +1 408 245 SPAM

What an UPROAR Cage has caused!  Are the musical forms of the past so 
sacred as to start a war over?  They are STILL here; and they won't be 
going away unless some global catastrophe destroys all human life and all 
record of them. . . and so are Cage's ideas here to stay.  The UNWASHED 
MASSES don't have to deal with him; so what's all the hub-bub, BUB?
The recent arguments against Cage's ideology are indicative of something 
OTHER than a simple dislike for his music;  it is almost as if you 
(plural) are afraid his exsistance will undermine the structure of your 
lives.
This will not happen.  EVER.  Thanks to the wonderfully short attention 
span
Xref: sparky rec.music.classical:12231 alt.fan.shostakovich:255
From: s892024@minyos.xx.rmit.oz.au (Richard A. Muirden [GA])
Newsgroups: rec.music.classical,alt.fan.shostakovich
Subject: Re: Shostakovich's musical joke (from rec.music.classical)
Date: 3 Sep 92 01:31:30 GMT
Organization: RMIT Computer Centre, Melbourne Australia.

finkel@sdi.com writes:

>In article <1992Aug26.210718.23583@Princeton.EDU>, mikulska@bessel.Princeton.EDU (Margaret Mikulska) writes:
>> In article <chomicki.714861404@antares.cis.ksu.edu.cis.ksu.edu> chomicki@cis.ksu.edu (Jan Chomicki) writes:
>>>
>>>Apparently, Shostakovich set an example of Soviet stalinist music
>>>criticism (dumping on degenerate Western music etc.) to some
>>>deliberately crude but "politically correct" music. The resulting
>>>piece is supposed to be hilarious.
>>>
>>>Does anyone know its name and the available recordings?
>> 
>> The piece is "Rayok" (spelled /r-a-yo-k/, that is, with the Russian
>> single character for 'yo') or "Learner's Manual".  (The title means 
>> "gallery", as in a theatre.)  It's written for 4 bass voices, choir, 
>> and piano - a "satirical cantata" in the form of a discussion, sort of,
>> what kind of music _should_ be written and what kind is "degenerate" and
>> to be avoided.
>> 
>> There is a recording on ERATO, containing two versions of the piece: one
>> sung in Russian, the other one, in English.  (The piece is rather short, 
>> below 20 min., which gives you a less than 40 min. full-price CD.)
>> 
>> Personally, I think this work is a bit heavy-handed.  I wouldn't call it
>> "hilarious".  It does have its amusing moments, but on the whole, I was
>> a bit disappointed.
>>...

>Folks,

>	 If I recall correctly, what *are* hilarious are the "notes
>	 from the publisher", which describe how this work was
>	 'discovered' floating in a pool of human excrement by a
>	 party official who, in trying to retrieve them, fell in.  It
>	 was not possible to save him because no one could tell the
>	 difference between the excrement and the party official.

>	 In fact, these "notes" were written by Shostakovich himself.
>	 Also, I think that the lyrics are taken verbatim from
>	 political discussions within the Ministry of Culture (or some
>	 other bureau).

>	 Perhaps I'm thinking of another Shostakovich contata, but I
>	 believe this is it.  It's worth getting just for the notes.

>/Joel

Anyone have catalog numbers etc? 

Where's the Jarvi version I ask you all!!! *huge smileys*

:-)

-richard 

-- 
-------------------------------------------------------------------------------
Richard A. Muirden, System Administator, RMIT. Dept. of Aero. Engineering...
raeram@kittyhawk.aero.rmit.OZ.AU, s892024@minyos.xx.rmit.OZ.AU
----------------- Fanatic of Shostakovich and "Star Trek" ---------------------
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Cardew and "people's music"
Originator: news@nimaster
Organization: Princeton University
Date: Fri, 28 Aug 1992 21:51:56 GMT

In article <1992Aug28.150812.24215@dcs.glasgow.ac.uk> jack@dcs.glasgow.ac.uk (Jack Campin) writes:
>diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) wrote:
>> jack@dcs.glasgow.ac.uk (Jack Campin) writes:
>>: It would be interesting to compare the programming of Soviet orchestras
>>: under Stalin with those of typical American orchestras under their
>>: corporate-influenced dictatorships.  Were they very different?
>> Yes it would - how much Krennikov or Tschedrin was plyed in the US.

>Well, the US has got Howard Hanson, Walter Piston, Samuel Barber, William
>Schuman, Vittorio Giannini, and a whole bunch of similar hacks who sound
>pretty near indistinguishable from Khrennikov and Schchedrin and who are
>played by the major orchestras solely because of their similar
>acceptability to a bureaucratic establishment.  

a) Schchedrin is already a real improvement over Khrennikov; I'm not sure why
you lump them together like that.  Sure, they were always "Good boys",
though Shchdedrin wasn't a cultural czar like Khrennikov.

b) Does Barber really belong in there?  "Knoxville" and several other
works are actually pretty interesting.

c) How much Giannini do we hear around here?  Ditto Hanson and Piston?
Last time I saw Piston on a concert program was at the Proms in 85.

d) And none ofthem sounds like Khrennikov.  Believe me.

>That's what I meant, not
>that the specific works would be the same.  And I would expect 19th-century
>warhorses to be similarly over-represented in both cultures.

>But I don't *know*.  Are there studies of Stalinist concert programming?

Boris Schwartz might have something on that.

>Are there even empirical studies of *American* concert programming that
>address this sort of question?

Yes.  For one thing, there are statistical analyses made every year 
by the Am. Symph. Orch. LEague.

Roger

Newsgroups: rec.music.classical
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Janacek's Glagolitic Mass
Organization: Dept. of Mathematics, U. of Chicago
Date: Tue, 25 Aug 1992 17:02:23 GMT

    Has anyone had a chance to listen to the new recording of the
Glagolitic Mass conducted by M. Tilson Thomas? I would be interested
to hear opinions on this particular performance, but comments on other
recordings currently available will certainly be welcome. I have owned
(and gotten rid of) the recordings by Rattle (boring!) and Kubelik
(awful, grotesque brass playing in the last few bars of the work), and
I would like to fill this gap in my collection. I know that there are
at least three other recordings currently listed (Kempe, Shaw,
Mackerras), but my sole source of information on this point is the
Penguin Guide (for all that's worth: they *love* Rattle, of course).

    Thanks.
From: Rudy.Zalesak@bbs.oit.unc.edu (Rudy Zalesak)
Newsgroups: rec.music.classical
Subject: Re: JOHN CAGE; classical or not?
Summary: Pre-music, post-music, and *Music*(tm)
Date: 29 Aug 92 02:15:39 GMT
Organization: Extended Bulletin Board Service

A composer friend once told me that conservatory friends divided
musical history into

Pre-music (Medieval, Renaissance)
*MUSIC* (from Bach to vaguely Wagner, maybe "easy" moderns)
Post-music (Cage!, Schoenberg, ... Ornette Coleman...)

I'm not sure where Glass and "easy" post-moderns would fit in
here! Anyway his comment was that people who liked pre and post
got along pretty well, but the *Music* types kept to themselves.

-- Rudy Zalesak
--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  bbs.oit.unc.edu or 152.2.22.80
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Kilmayer: Hoelderlin Songs
Organization: Morgan Stanley & Co., New York, NY
Date: Wed, 26 Aug 1992 03:12:21 GMT

In article <l9kj35INNjsc@news.bbn.com> delatizk@bbn.com (Jonathan Delatizky) writes:
>I saw a 2-CD set of Wilhelm Kilmayer's Hoelderlin Lieder at Tower.  I've
>never knowingly heard anything by Kilmayer (whose name I know I may be
>misspelling), and am curious.  Does anyone know these songs, or what
>Kilmayer's idiom is like?  Worth hearing?  Worth purchasing?

Killmayer, Wilhelm.  The brief biography (1927-) included in this set
mentions that he studied conducting and composition with von Waltershausen
and Orff, and musicology with von Ficker, which may mean something to you.

The artists are Christoph Pregardien (tenor) and Siegfried Mauser (piano).

The work consists of settings of three cycles of poems by Holderlin.

I suppose that EMI will not object if I quote a bit of what Killmayer
has to say about the work:

	My setting of two collections of 18 poems and fragments
	consists of two cycles, the first of which is based chiefly
	on the "season" poems; in the second cycle, these poems
	serve as the basis of the first section, while the second
	concentrates on the poems Holderlin wrote for specific
	occasions, which provide an intimate look at the Holderlin
	the man.  The third section is dominated by eschatological
	concerns; it ends with an utopian vision of Greece.  The
	ethereal purity of this language seems to emanate from
	another world, like distant tidings.

	Nevertheless, it comes from our world, after its restoration
	to sanity.  This tone and its utopian promise have also
	informed my musical version.  To me, the music of the future
	will not be complex, but transparent like air:  "When spring
	enters life from the depths, man wonders ..."

The musical treatment is basically tonal, expressionistic, and free.
He doesn't sound mucb like anyone else, but if I had to pick someone
I suppose it would be Krenek in his rediscovering-Schubert-from-the-
inside-out-phase (e.g. _Alpine Notebook_).

And as a bonus, you get the wonderfully bizarre translation of Siegfried
Mauser's contribution to the liner notes.  For example:

	Its high degree of recognizability is actually responsible
	for an aesthetic height of fall which allows the unusual and
	the strange to break into our consciousness as something
	familiar.

	The specificity of Holderlin's poems cannot be inferred
	on the basis of the ascertainable unconventionalities
	that one is so tempted to concretize with regard to the
	poet's insanity, but on the basis of an unbiased acceptance
	of a suspended, natural vocal sound.

>Jonathan Delatizky  *  Bolt Beranek & Newman  * If you mention Rimbaud in Bel
>delatizky@bbn.com   *    10 Moulton Street    *  Air it is assumed you're
>{...}!bbn!delatizky *   Cambridge MA 02138    *  talking about Sylvester
>+1 617 873 3366     *  FAX: +1 617 873 2205   *  Stallone  -  Peter Mayle

Steve



Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: JOHN CAGE - a few items
Organization: Credence Systems Corp. Beaverton, OR
Date: Wed, 26 Aug 1992 01:32:22 GMT

In article <BtEu9B.y5@quake.sylmar.ca.us> brian@quake.sylmar.ca.us (Brian K. Yoder) writes:

>No, on the contrary, I THOUGHT about Cage, and the result of my thinking
>was that what did was neither music, nor art, nor good.  Why is it that
>you can't conceive of someone listening to Cage, thinking about it, and 
>rejecting it as nonsense?

Maybe because it makes sense to him. Aren't you curious what he knows that
you don't?

>It is not nonsensical to claim that music is something specific,

Oh yes it is. What specific thing is it?

>contradictory statements about it cannot all be true.

Who says they're contradictory? Did the people who made them believe them
to be contradictory?

>It is also not nonsensical
>to point out that for something to have value, it must be associated with 
>some purpose. 

But the purpose can be bestowed by the owner of the thing, for example, the
audience.

							Jeff Winslow
Newsgroups: rec.music.classical
From: cerrlss@techunix.technion.ac.il (Shahar Steiff)
Subject: Re: VOCAL Wedding music suggestions?
Organization: Technion, Israel Institute of Technology
Date: Mon, 31 Aug 1992 06:19:46 GMT

You can also consider the "Pa,Pa,Pa,Papagena..." from Mozart's "Magic
Flute". This is a lovely and humoristic duet that can be performed by a
Bass-Baritone and a Soprano. 
-- 
 /=== Shahar Steiff  -   Computing and Process Control Engineer ===\
/ Chemical Engineering, Technion , Haifa, ISRAEL 32000   (room 318) \
\ Ph.(+)972-4-293420 Fx.(+)972-4-230476 | cerrlss@tx.technion.ac.il /
 \==Home:Ramat Yochanan 30035 04-459536 | cerrlss@technion.bitnet==/
Newsgroups: rec.music.classical
From: art30248@nusunix2.nus.sg (NG LING LING)
Subject: Re: viola music
Organization: National University of Singapore
Date: Mon, 31 Aug 1992 08:36:25 GMT

Thanks for the note, and just also wondering...

Have you heard Zukerman trying to play the viola on the Brahms ? I think
it was a DG recording from yonks ago. 
Newsgroups: rec.music.classical
From: s9874194@phobos.ucc.umass.edu (s9874194)
Subject: Re: Candide broadcast
News-Software: VAX/VMS VNEWS 1.41    
Organization: University of Massachusetts, Amherst
Date: Tue, 1 Sep 1992 23:50:00 GMT

In article <CB.92Sep1143651@tamarack13.timbuk>, cb@tamarack13.timbuk (Chris Brewster) writes...
> 
>Tonight, the Arts & Entertainment cable channel will broadcast
>Bernstein's Candide.  This is with the London Symphony.  What version is
>this?  Is it the one that was on PBS a few years ago?  Or the revision
>of the recast improved revised revision?
> 
>Chris Brewster
>cb@cray.com
> 
My guess is that this will be the version of Hadley/Anderson/Berstein.
I remember that A&E broadcasted it once, and it seems the only recording
/performance Berny conducted his Candide.
We will check that out.
c.q
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: A Brahms Contrarian
Date: Sat, 29 Aug 92 21:35:30 PDT
Organization: The Portal System (TM)
  <CB.92Aug25145253@tamarack13.timbuk>

   I think Brahms will continue to do just fine without any praise from
me, but I will add my voice anyway - particularly the piano music, where
I agree 100% with Jeff Winslow - and my discovery of the Brahms chamber
music (violin and cello sonatas, quartets, quintets, trios, etc.) some
25 or more years ago was one of the real high points of my musical
experience.

     Bill Pearce
Newsgroups: rec.music.classical
From: jyoo@cbnewsb.cb.att.com (jay.y.yoo)
Subject: Music Schools
Organization: AT&T
Distribution: usa
Date: Tue, 25 Aug 1992 18:22:12 GMT

A friend of mine is looking for a Music Grad school to get MA degree in
classical piano (performance) and needs some advice as to the quality,
difficulty, faculty, assistantship, etc. etc. of few schools.
She has a BA degree in the same field.
Choices are Princeton, Westminster, Rutgers, Julliard or something local
within commuting distance from central NJ.

Please respond to attmail!jyoo.
Any help will be appreciated.

Jay
Newsgroups: rec.music.classical