HDTenEightyP/NetNews huggingface dataset:
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: It's in the wrists.
Organization: Camosun College, Victoria B.C, Canada
Date: Thu, 12 Nov 1992 01:22:13 GMT

In article <69288@cup.portal.com> Bill_P_Pearce@cup.portal.com writes:
[....]
>It does appear that Schumann's right hand was injured, which imnpaired
>his proficiency at the piano, but from all I have read it does not seem
>to be clearly established what happened to his hand.  He used a mechanical
>device of some kind when practicing during one period and this has been
>cited as the cause of the injury (a device that was supposed to promote
>stretch and finger independence, I think, and this may have given rise to
>the legend about cutting into the webs), and it has also been suggested that
>he suffered from tendon or nerve damage, akin to the carpal tunnel problems
>that some musicians have had in recent times (e.g. Leon Fleisher, Gary
>Graffman).  (The Ostwald book is fascinating, by the way;  Schumann was,
>as we would say nowdays, fairly screwed up mentally from an early age.)

I recall reading (hearing?) that the device, which he made himself,
involved some form of sling, which enabled him to suspend one finger
at a time, so as to make him play with the other 4 only. Wish I could
remember more details.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
From: mr@rwthi3.informatik.rwth-aachen.de (Matthias Rademacher)
Subject: Re: Favorite Ring recordings
Organization: Rechnerbetrieb Informatik  /  RWTH Aachen
Date: 12 Nov 92 09:45:51 GMT

gerritse@sci.kun.nl (Bart Gerritse) writes:

>The dutch classical music magazine had last month an interview with Solti.
>He said he now considers his Ring "a young person's Ring" and that he now
>has a different view on much of the music. He would like to record it again
>but thinks it very unlikely that he will be able to find a good enough cast.

He made a Ring in Bayreuth in 83 or 84. His romantic version was
no success at all. The following year he did not conduct again.
Unfortunately I do not remeber the radio broadcast (I do not have
a tape of it). Is there anybody who can comment on this Bayreuth
performance?
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: The Planets
Date: 5 Nov 1992 03:12 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

 Let me join the ranks of those who dislike the Dutoit recording -
I find it overblown, brash and unconvincing. Too much sound and
fury, not enough substance.
 Much better are Boult (yes, the 1979 recording) and Sandy Gibson
& the SNO (glad somebody else mentioned this). And I'd second
recommendations of the composer's own versions - there's a version
of Mars to make the skin crawl.

 Neill Reid - inr@eccles.caltech.edu
From: al@sys6626.bison.mb.ca (haus der luge)
Newsgroups: rec.music.classical
Subject: Re: obscene lyrics advisory--new Baltimore Consort album!
Date: 12 Nov 92 17:30:18 GMT
Organization: System 6626 BBS, Winnipeg Manitoba Canada

REGARDING WARNING LABELS ON CLASSICAL MUSIC:
 
See also - John Moran's "THE MANSON FAMILY - AN OPERA".
 
HausDerluge
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Obscene lyrics
Date: 10 Nov 1992 14:33 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

 For another example of bowdlerised lyrics, compare the translation
of Lassus' chanson `Hai Lucia' as listed in the text accompanying the
recording by the Ensemble Clement Jannequin and in the version 
edited by Dennis Arnold. Actually, they're not so much bowdlerised as
given an entirely different interpretation.

 Neill Reid - inr@eccles.caltech.edu
From: llc@po.CWRU.Edu (Ling L. Cheung)
Newsgroups: rec.music.classical
Subject: Join Orchestra in Minneapolis area??
Date: 11 Nov 1992 05:15:00 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: llc@po.CWRU.Edu (Ling L. Cheung)
NNTP-Posting-Host: hela.ins.cwru.edu


I have just moved to Minneapolis from Cleveland and interested in joining
some community orchestras for fun. I play the violin and used to play
at the Cleveland Orchestra youth Orchestra 4,5 years ago and at the
South Jersey Youth Orchestra 7,8 years ago. 
-- 

Lilian Ling Cheung
llc@cleveland.freenet.edu
Office: (612)449-8140
Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel)
Subject: Re: The best Tristan und Isolde
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Date: Thu, 12 Nov 92 21:05:32 GMT

In article <1992Nov12.161109.20723@ghost.dsi.unimi.it>, leva@ghost.dsi.unimi.it (paolo leva) writes...

>Hi, is there anybody willing to suggest me a recording of Wagner's Tristan
>und Isolde. I'm looking for a good interpretation of the opera on CD. I don't
>mind whether it is alive or in studio, I only need a decent sound and that's
>OK. I've found interesting Levine's Walkure and Von Karajan's Parsifal (this
>is unusual, since I got bored of almost all Karajan' recording!).

My favorite T&I is available on DG CD with Boehm conducting a live Bayreuth
performance featuring Windgassen, Nilsson, Ludwig, Talvela.  A great cast.
I mentioned elsewhere that I was not impressed with Boehm's Ring recordings,
but I do find this to my taste.  His tempi are a little faster than others,
but it's the one I listen to most often.

The Karajan is also very good (but I know what you mean about Karajan's Wagner),
and Vickers makes for a ringing Tristan.  Solti's version is up there as well, 
featuring Uhl and Nilsson, and it's a Culshaw production.

Ron
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: The Planets
Date: 10 Nov 1992 18:01:08 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Deryk Barker (dbarker@spang.Camosun.BC.CA) wrote:
: In article <1dci3nINN9oh@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
: >Has no-one heard the version conducted by Holst himself?
: 
: Which one? :-)
: 
The one I have, of course :-)
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re: Best recording of "1812 Overture"?
Organization: MIND LINK! - British Columbia, Canada
Date: Tue, 10 Nov 1992 14:40:45 GMT

Is that famous version conducted by Dorati with REAL CANNONS, REAL CARILLON,
etc., etc. from many years ago still available on CD? It used to be paired
with Wellington's Victory (an equally noisy recording) on LP...
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: who wrote ...
Date: 7 Nov 1992 21:06:18 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Peter O'Toole (potoole@maths.tcd.ie) wrote:
: The other day on the radio, I heard a brilliant virtuoso piece for
: violin and piano called "Dance of the Goblins."
: Unfortunately I missed the name of the composer. Apparently it's his
: most well known work.

Bazzini's Ronde des Lutins? 
Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: It's in the wrists.
Organization: Credence Systems Corp. Beaverton, OR
Date: Fri, 13 Nov 1992 01:25:41 GMT

In article <1992Nov10.230541.22389@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:

>It's been a while since I've played the [Rach.] preludes but most of them
>don't require large stretches. Octave at the most. Instead they require lots
>of rapid jumping around which is more a test of wrist/arm flexibility.

True, but then there's Book 2, no. 13. Heh heh.

						Jeff Winslow
Newsgroups: rec.music.classical
From: maher@umbc4.umbc.edu (Dr. Michael Maher; ACS (GUEST))
Subject: Ave Maria vocal
Organization: Univ. of MD, Baltimore County
Distribution: usa
Date: Fri, 6 Nov 1992 19:58:37 GMT



I have to agree with the opinion that John McCormack's vocal 
interpretation is the classic.  I can suggest two others worth
hearing, but they will be difficult to locate.

Rosa Ponselle recorded this version I believe (along with
other versions) later in life.  The voice is lush and gorgeous, 
the interpretation rather plangent.  Thomas, from his Westinghouse
radio show during WWII, beautiful, sonorous, with delicious
latin pronunciation.  What elevates McCormack's interpretation
is the genuinely prayerful yet not maudlin tone.  Great simplicity
as in all his singing, completely encompassing the theology and 
emotion of the work.
Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Berlioz
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 12 Nov 1992 00:51:51 GMT

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?

No!  Wait for the Gardiner!!

Donning his asbestos suit,
-chris
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: The Planets
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 9 Nov 1992 04:04:24 GMT

In article <1dci3nINN9oh@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>Has no-one heard the version conducted by Holst himself?

Which one? :-)

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
Subject: Re: Best recording of "1812 Overture"?
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Date: Thursday, 12 Nov 1992 08:28:05 EST
 due.edu> <1992Nov9.174505.15138@city.cs><1992Nov10.035850.7891@news.columbia.edu>
Organization: University of Maryland at Baltimore

gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:

> In article <1992Nov9.174505.15138@city.cs> lionel@cs.city.ac.uk (Lionel Tun)
writes:
> >
> >Yes, the Telarc is _the_ definative recording of the 1812:
> >Cincinatti Symphony, Erich Kunzel...
>
> Everyone repeat after me:
>
> ||: THE TELARC RECORDING OF THE 1812 IS NOT GOOD :||
>
> Now that we've gotten that out of the way, let me tell you why.

And he does so very impressively.  He neglects, however, to include
what is, at least to me, the reddest red light of all in the case of
this recording:  Erich (Mr. "Pops Pap") Kunzel's conducting.  Ick.

I'll stick with the Solti/Chicago.

Bob
Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: It's in the wrists.
Organization: UCLA Mathematics Department
Date: Tue, 10 Nov 92 23:05:41 GMT

In article <1992Nov10.151417.5222@maths.tcd.ie> potoole@maths.tcd.ie (Peter O'Toole) writes:
>Leopold Godowsky is supposed to have had small hands, which is surprising
>considering some of the chords in his transcriptions.
>As for large hands, we may list pianists like C.M.von Weber, Thalberg, Alkan
>and Rachmaninov who could probably all span a 12th ( so could Eubie Blake ).
>
Rachmaninov could span a 12th with ease. 

>Now a question. Askenazy has small hands. IMO he virtually destroyed
>Rachmaninov's 2nd concerto ( Previn recording ) with arpeggiations all over
>the place, yet in his recordings of the preludes, he seems to fare ok.
>How did he do this?
>
>Peter O'Toole,
>Trinity College Dublin.

It's been a while since I've played the preludes but most of them don't
require large stretches. Octave at the most. Instead they require lots
of rapid jumping around which is more a test of wrist/arm flexibility.

I don't think the 2nd concerto requires particularly large hands so I
don't understand why Askenazy arpeggiated everything. The 3rd concerto
on the other hand does have some very large chords in it! But even then
it is possible to smear the chords and get away with it.

Personally I think Prokofiev is more difficult stretchwise. He was fond
of adding 9th, 10ths and even 11ths to his chords and because of the
style (pungent and staccato) you can't spread the chords like you can
with Rachmaninov.

Actually the opening of Rach. Piano Conc. 2 in the left hand DOES require
a big stretch! A lot of pianists play the 5th finger bass note as an
accaciatura.

David

Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: STRAVINSKY
Organization: Credence Systems Corp. Beaverton, OR
Date: Sun, 8 Nov 1992 03:17:57 GMT

In article <F7PTTB3w165w@sys6626.bison.mb.ca> al@sys6626.bison.mb.ca (haus der luge) writes:
 
>I recall somebody here mentioning that they have a copy of the 'RITE OF 
>SPRING' for ONE piano.
 
A friend in the Bay Area was kind enough to send me up a "Dover edition" of
the piano DUET versions of both Petroushka and The Rite.  I've been working
on the various parts of the latter in the hopes I'll one day find someone
who wants to play through it with me.  In general it seems perfectly 
effective, except in the prologue, where two performers just can't get
around to all the sounds created by the awakening life.

Or were you talking about piano solo? A bit hard to imagine, that.

						Jeff Winslow
From: midkiff@public.BTR.COM (Neil E. Midkiff  midkiff@btr.com)
Newsgroups: rec.music.classical
Subject: Re: KDFC - a question.
Date: 7 Nov 92 08:24:56 GMT
Organization: BTR Public Access UNIX, MtnView CA. For info contact: info@BTR.COM

In article <1992Nov6.234454.21599@menudo.uh.edu> chem91@Elroy.UH.EDU 
(Bill Harrison) writes:
[to a discussion of the prerecorded announcements on San Francisco's classical
radio station KDFC]
>
>This "canned announcer" is the most bizarre thing I've heard in ages... Can 
>somebody track down the full story??? 

As I understand it, not only the announcer but the whole program is canned.
Apparently the station subscribes to or is a franchise of some nationwide
service which transfers the music and the announcements to digital tapes.
The broadcasting is then pretty much automated; I think they have to have 
an engineer on hand all the time but probably he or she is pretty lonely most
of the time.

This would explain the other posting which mentioned hearing the same 
announcer in the Midwest.

-Neil
From: spahr@hpwala.wal.hp.com (Lani Spahr)
Date: Wed, 11 Nov 1992 14:21:01 GMT
Subject: Re: Carmina Burana
Organization: Hewlett-Packard Company
Newsgroups: rec.music.classical

In article <1992Nov10.140633.14395@fid.morgan.com>, steve@fid.morgan.com (Steve Apter) writes:
|> In article <9NOV199212555793@utarlg.uta.edu> b755zas@utarlg.uta.edu (RANDELL WHALEY) writes:
|> >
|> >
|> >	Miser, miser
|> > 	modo niger et ustus fortiter!
|> >
|> >Does any person know where I can find the next two operas (on a CD) of
|> >Orff's Trionfi trilogy.  I believe the titles are "Carmina Burana" (<--
|> >--- got this one already) "Catulli Carmina", and "Trionfi de Afrodite"
|> >Appreciate any help!
|> 
|
|> 
|> Supraphon has released all three (under Smetacek?) as a 2 or 3-disk
|> set, and these are available (sorry, no catalog info available, as 
|> I don't own these).

Here it is:

Suprahpon 110321 (2 discs)

Lani Spahr
spahr@hpand5.and.hp.com
Newsgroups: rec.music.classical
From: igb@fulcrum.co.uk (Ian G Batten)
Subject: Re: Messeian recommendations?
Organization: Fulcrum Communications
Date: Fri, 6 Nov 1992 11:20:34 GMT


``From the Canyons to the Stars''.  It's rather late amongst Messeian's
work, mid-1970s, and is strongly influenced by both bird song and his
views on the relationships between colour and tonality.  It contains
some entrancing horn solos and beautiful piano work.

There's only one recording: Crossly and the London Sinfonietta on EMI.

ian
Newsgroups: rec.music.classical
From: leva@ghost.dsi.unimi.it (paolo leva)
Subject: The best Tristan und Isolde
Organization: Computer Science Dep. - Milan University
Date: Thu, 12 Nov 1992 16:11:09 GMT

Hi, is there anybody willing to suggest me a recording of Wagner's Tristan
und Isolde. I'm looking for a good interpretation of the opera on CD. I don't
mind whether it is alive or in studio, I only need a decent sound and that's
OK. I've found interesting Levine's Walkure and Von Karajan's Parsifal (this
is unusual, since I got bored of almost all Karajan' recording!).

If anybody is able to help me, mail me, please!

Do you know also where in Europe is the Tristan or The ring going to be played?


Thanks.

Paolo Leva - Milano
leva@ghost.dsi.unimi.it
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Trout (Re: WCRB Top 40 playlist)
Date: 5 Nov 92 19:27:21 GMT
Organization: Oxford University VAX 6620

In article <1992Nov3.131046.17060@husc3.harvard.edu>, elkies@germain.harvard.edu (Noam Elkies) writes:
> In article <1992Nov1.155101.9860@vax.oxford.ac.uk>
> wilcox@vax.oxford.ac.uk writes:
>>I think it's probably got more to do with the fact that the `Trout' has a
>>title, however indirectly connected with the piece in question. [...]
>                 ^^^^^^^^^^^^^^^^^^^^
> 
> Not as indirectly as you may think: look up "Die Forelle" in the
> Schubert Lieder...   (Likewise the "Death and the Maiden" quartet;
> Schubert quoted his own songs in several other pieces too.)

I realise that (I am---in my own moderately amateur way---a singer). What I
*intended* by my remark was that the piano quintet was not actually called `The
Trout' *by the composer* (unlike, say, Beethoven's Pathetique sonata). The
title of `Trout' only properly belongs to the song `Die Forelle'. (Which came
first?)

By the way, when I recently heard the `Death and the Maiden' quartet for the
first time knowingly, I was amazed at how short the actual theme was. I had
imagined something much bigger, on the scale of Erlkonig or Schumann's Lorelei
song form the Eichendorff Liederkreis (whose title escapes me). Was this
Schubert trying to write a dramatic song that bad singers could sing easily?

-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.classical
Subject: Re: obscene lyrics advisory--new Baltimore Consort album!
Date: 10 Nov 1992 19:32:22 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

In article 12262@magnus.acs.ohio-state.edu, jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>I've heard that the new release by the Baltimore Consort, "The Art
>of the Bawdy Song:  Music from the Gutters of 17th Century England"
>due out next Monday, will contain a label warning of lyrics which some
>may find objectionable.  I find this quite amusing, to say the least--
>how many teenagers are likely to go rushing out to buy this album?
>Does anyone know of any other "classical" album which took such an
>action (and no, P.D.Q. Bach's "pathetic lyrics" advisory regarding 
>"Classical Rap" (from the "Oedipus Tex" album) doesn't count!)?
>
>b.t.w., are there any other fans of the Baltimore Consort out there?
>I'd like to get some discussion going once this new album is released.

I've enjoyed other Baltimore Consort recordings on Dorian of English
and Scottish early music, and look forward to their new venture.
There's certainly enough catches by Henry Purcell (to say nothing
of his predecessors, contemporaries, and followers) to fill a CD
with eyebrow-raising lyrics.  

Given the nature of catches, though, the liner notes could be G-rated 
while the album itself is X-rated.  The juciest obscenities occur when 
different vocal lines hocket their lyrics together, producing a composite 
text far hotter than the relatively blameless individual lines.

There's a book from Oxford University Press called "The Catch Book"
that includes the complete, unexpurgated catches of Purcell and
about 100 others.  Check it out, as Joe-Bob would say.

There's no lack of ribald texts in other european languages, but in 
those cases, parents in Baltimore are more likely to be proud of their 
children's language skills than to fear for their morals.  I recall
reading that a collection of racy chansons and madrigals by Lassus 
was issued in Rome with sacred texts substituted for the original
lyrics.

--James Langdell         jamesc@eng.sun.com
  Sun Microsystems       Mountain View, Calif.


Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Cage's 4'33"
Organization: UCLA Mathematics Department
Distribution: usa
Date: Thu, 12 Nov 92 20:03:22 GMT

In article <1992Nov11.205624.1093@sequent.com> danielh@sequent.com (Daniel Hobbs) writes:

>I've read so much on this newsgroup about Cage's infamous 4'33".
>Can anyone recommend any good recordings of it?  What, in the
>informed opinion of this net, is the _best_ recording?
>

You know, I haven't heard a satisfactory recording yet. Those that I've
listened to all seem to misjudge the tempo and don't observe Cage's
dynamics markings.

I also have difficulty remembering which recording is which. Does anyone
else have this problem?

You may be interested to know that I have recorded this piece myself!
I'd be quite happy to send it to you for $10 (plus S+H)
(now where did I leave that blank tape...?)

David


--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Alburqurque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Recomendations on Rachmaninoff's 2nd Concerto for Piano (Cm)?
Keywords: rachmaninoff, concerto, piano
Organization: UCLA Mathematics Department
Date: Thu, 12 Nov 92 18:50:56 GMT

>In article <1992Nov12.034351.14665@reed.edu> rseymour@reed.edu writes:
>
>  What are particularly good recordings of Rachmaninoff's Second Concerto
>  for Piano in C minor? 

Has Krystian Zimmerman recorded this piece? I heard him play it at a Prom.
It was the most original interpretation I heard for years. I find so many
performances/recordings of this work to be identical.

> 
>  Last, what other pieces, recordings do you consider amoung  
>  Rachmaninoff's best (either before or after his counseling).

There is no question in my mind that Rachmaninov's 3RD PIANO CONCERTO is the
greatest of his 4 piano concertos. I've never heard a recording I fully
liked. What is Horovitz's version like ?

If you love unashamedly romantic, lyrical music then the SECOND SYMPHONY.
The best recording is undoubtedly by Previn (I think it's with the LSO)
but it may have been pulled. Definitely get a recording with NO CUTS from
the score.

I think Howard Shelley recorded all the PRELUDES a few years ago. The
Preludes are simply the some of the best piano music ever written. Perhaps
someone can comment on the Shelley recording?

David

--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Alburqurque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
Newsgroups: rec.music.classical