HDTenEightyP/NetNews huggingface dataset:
From: inr@deimos.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: Re: Most drawn-out endings
Date: 28 Dec 1992 07:48 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: deimos.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

In article <BzyAFK.KMs@cmcl2.nyu.edu>, tony@cns.nyu.edu writes...
>In article 27DEC199212540329@deimos.caltech.edu, inr@deimos.caltech.edu (I. Neill Reid) writes:
>>  Has to be Beethoven's Overture Leonore no.4
> 
>Indeed, a very drawn-out ending, since it was never begun :-) (There are
>only 3 Leonores -- the "fourth" would be the Fidelio Overture, which is
>actually quite compact).

 Got one - there is indeed a Beethoven Leonore no. 4 - but it's
not entirely by Beethoven. It's on the same lp/cd set as the Piano
Concerto to end all piano concerti, the Great Tay Whale (for recitator
and orchestra), the Surprise, Surprise symphony and Dennis Brain
playing a Mozart (L.) horn concerto with mouthpiece and hosepipe.
And the Leonore is the best parody of Beethoven I've ever heard - since
it exagerrates but a trifle.

 Try the Hoffnung concerts


 Neill Reid - inr@eccles.caltech.edu

> 
>-----------------------------------------------------------------------					Tony Movshon
> 
>Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
>					Center for Neural Science
>					New York University
>Phone:	   (212) 998-7880		4 Washington Place, room 809
>Fax:	   (212) 995-4183		New York, NY 10003
>------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Greatest Conductors: Why?
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 22 Dec 1992 17:39:53 GMT

rwh@visual.com (Rob Holzel) writes:
: Brian Haag writes:
: 
: > I would
: >say that Bernstein ranks as one of my favorite conductors for those moments
: >when he creates an incredible electricity. 
: 
: And I'd say I agree entirely.  Your caveat, naming "those moments when
: he creates an incredible electricity," is a wise on.  But I can honestly
: say that, to me, those "incredible moments" make it worth sifting through
: some of those times when his approach misses the mark.  When he's on-target,
: he's really "on".  
[....]
: magical.  As are the Ives Second, the Copland Third, the Mahler Fifth,
: Mahler First, and on and on....  Someday I hope to indulge myself with
: his BSO Mahler Ninth.  I first have to be able to justify owning a third
: copy of that work, though.

No justification required. I own 17 versions....{
: 
: There are occasional misses, too, like the DG Sibelius Second -- that 
: just didn't jell for me.  

Not to mention that hideous 1968 Symphonie Fantastique.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: edgar@function.mps.ohio-state.edu (Gerald Edgar)
Newsgroups: rec.music.classical
Subject: What is that music in [insert TV show/movie here] ?
Date: 28 Dec 1992 13:35:19 -0500
Organization: The Ohio State University, Dept. of Math.
Distribution: na
NNTP-Posting-Host: function.mps.ohio-state.edu

What is that music in the commercials for Maxwell House coffee?
There are mountain scenes in Colombia with choral music...

E-mail, and I will post the answer (If known).



-- 
  Gerald A. Edgar                Internet:  edgar@mps.ohio-state.edu
  Department of Mathematics      Bitnet:    EDGAR@OHSTPY
  The Ohio State University      telephone: 614-292-0395 (Office)
  Columbus, OH 43210             -292-4975 (Math. Dept.) -292-1479 (Dept. Fax)
Newsgroups: rec.music.classical
From: broken@venison.bae.bellcore.com (Tony Brokenborough)
Subject: Re: RFV: Bruckner Re: The BEST finale!
Organization: Bell Communications Research
Date: Mon, 28 Dec 92 19:13:51 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:
|> > sowhat@gphs.vuw.ac.nz (Christian Zick) writes:
|> > [....]
|> > : I also had a record with organ music from Bruckner, which I sold later on. 
|> > : Although I am almost addicted to organ music, I did not find anything
|> > : beyond sweet-humming noise in his organ compositions.
|> > 
|> > Well it is generally acknowledged that Bruckner's organ music is
|> > second-rate, ...
|> 
|> I do like a lot of second-rate organ music indeed, and I will never try to
|> persuade anybody of its *qualities*. But Bruckner's is 4th rate.
|> 
|> > 
|> > : 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 ....
|> 
|> Christian Zick
|> sowhat@gphs.vuw.ac.nz


I fully agree !!



Brokenborough
Newsgroups: rec.music.classical
Subject: Re: Valkyrie recordings
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Thursday, 31 Dec 1992 14:13:01 EST
Organization: City University of New York/ University Computer Center

Jon Conrad has his Kens mixed up. I very much like Jon Vickers' Siegmund. BTW,
at last year's AGMA Pension Fund fund-raiser, the late Stanley Levine showed a
remarkable videotape he had made from the wings of Vickers and Nilsson in the
Act I duet. The sword misbehaves, but Vickers carries on admirably.

For the record, however, my favorite Act I Siegmund is Ramon Vinay, who sings
brilliantly and also acts persuasively with the voice. He actually SOUNDS like
an exhausted hero in his entrance. And Regina Resnik's Sieglinde conveys a le-
vel of neurosis unequalled, even by Leonie Rysanek.

I ought to be a little more controversial on New Year's Eve, so let me add that
 I do not like Regine Crespin's Sieglinde. She strikes me as rythmically sloppy
and a generally coarse musician who does not create much of a character. She
emits very pleasant and very loud sounds on the Solti recording but, to my
taste, is no match for Bohm's Rysanek, Krauss' Resnik, or any other of a large
number of Sieglindes, including Norman and Studer.
From: mad@cs.wm.edu (Michael A. Dritschel)
Newsgroups: rec.music.classical
Subject: Re: FYI: Lovely Music....
Date: 29 Dec 92 21:32:43 GMT
Followup-To: rec.music.classical
Organization: College of William & Mary, founded 1693

Barry Grant writes:

  In response to Edgar Erwin's questions about my post on Improvement:

  There is a complete recording of Perfect Lives, 3 CD set from Lovely. The 1
  CD recording with Tyranny and Ashley is called, I think, Private Lives. The
  complete opera also has Tyranny with a couple of "singers" joining Ashley.
  I think Tyranny plays all the music--piano and synthesized sounds.

The single recording is called _Perfect Lives (Private Parts)_.  When
I got it it was only available on LP, with the complete opera
available on cassette.  I'm glad to hear it is out on CD.  There
are a few other older recordings featuring music of Robert Ashley that
I am aware of.  One is a piece called _Purposeful Lady, Slow
Afternoon_ that I believe came out on Everest and is supposedly part
of a longer work called _The Wolfman Motor City Review_.  I am not
aware of any recordings of this.  There was also an album which came
out on the unfortunately now defunct 1750 Arch Records label called
something like _10 + 2: Spoken Word Music_ that has an excerpt of a
piece by Ashley called _In Sarah, Menken, and Christ There Were Men
and Women_.  By the way, the "+2" in the title refers to two pieces in
the wind-off grooves of the album---a possibility presumably lost with
CD technology.  

I should mention that _Perfect Lives_ was performed live at the New Music
America festival when it was held in Chicago in 1980(?).  It was broken
into several parts that were performed on successive nights after the
main concerts were over in a river boat docked to Navy Pier (which is
where the festival took place).  The visuals consisted of Robert
Ashley standing before a microphone in front of a bank of television
screens with a lot of wonderful video work.

It would be interesting to hear of others impressions of the New Music
America festivals.  I have only been able to attend the one in Chicago
and then one several years later in Washington, D.C.  I must say that
I found the former to be much better for several reasons.  Primarily
though, it was because of the impression that for the latter they
programmed composers and performers that were "in" at the expense off
lesser known but often equally interesting music.  I didn't really
hear anyone that I didn't know about before, and while I was happy to
be able to hear such things as the Inuit Throat singers and the Dirty
Dozen Brass Band live, it just didn't seem like the right venue.  Also
the fact that it was carried live on WFMT was a plus for the nights
when I couldn't get down there.  Unfortunately I have not lived close
enough to attend any others and it has been a number of years since
these two took place, so maybe things have changed.
-- 
Michael A. Dritschel          mad@cs.wm.edu

Department of Mathematics
The College of William and Mary
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Date: 26 Dec 92 23:11:07 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

In article 18846@husc3.harvard.edu, vnguyen@husc8.harvard.edu (Vinh Nguyen) writes:> Subject: Re: SURVEY: FAVORITE PIANO CONCERTO

> > (4) Tchaikovsky   #1 (great)
> Absolute favorite recording: Horowitz/Toscanini.  

Harold Schonberg reports in his biography of Horowitz that the pianist detested
this recording. Much as he admired Toscanini, Horowitz thought he had this piece
all wrong. I agree.

------------------------------------------------------------------------
					Tony Movshon

Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
					Center for Neural Science
					New York University
Phone:	   (212) 998-7880		4 Washington Place, room 809
Fax:	   (212) 995-4183		New York, NY 10003
------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Say it ain't so
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 22 Dec 1992 17:41:49 GMT

Our TV Guide for this week has a movie on the TLA channel (out of Los
Angeles I think) entitled
	'The Smurfs and the Magic Flute'.

Tell me I'm mistaken, please....


--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: u8011515@cc.nctu.edu.tw (Crazy for Mozart !)
Subject: Re: Greatest living pianist (Was Re: Prokofiev, Scriabin, Piano works)
Organization: National Chiao Tung University
X-Newsreader: TIN [version 1.1 PL6]
Date: Wed, 30 Dec 1992 04:55:22 GMT



The greatest living pianist in my mind is Maurizio Pollini.
                                          ^^^^^^^^^^^^^^^^
He played the pinao concerto No.23 of Mozart is BRAVO!!! 

--
wang ming hong
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: HELP: music quiz
Date: 23 Dec 92 14:37:46 GMT
Organization: Oxford University VAX 6620

In article <1992Dec22.000824.18082@csis.dit.csiro.au>, tsui@csis.dit.csiro.au (Kenneth Tsui) writes:
> 
> 
> 
> I need help to answer the following for a music quiz. Some of the questions
> are quite interesting. I'll post the answers when they come out in Feburary.
This sounds dubiously like a new variation on the old "do my homework for me"
post, but what the hell, it's Christmas. 
> 1. In what opera is there a character Sportin' Life?
Porgy and Bess. (That's the easy one.)

> 3. What music critic was equally distingished as cricket writer?

John Arlott. (I think!)

> 12. Which composer died after wounding himself while conducting?
> 
Lully
> 20. Which castrato:
>     (a) sang the same song every evening to charm the King of Spain?
Farinelli.
 
> 21. Name the links: (a) Lark and Frog
Probably Haydn
>                     (b) Lark and Wasps
Vaughan Williams (Lark ascending and Wasps Overture.)

Not a lot of help....
-- 

Stephen Wilcox             |   For Sale: Posts in British Government. Suit
wilcox@vax.oxford.ac.uk    |   outgoing American. Highest bids accepted.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: harnoncourt and svedja
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Distribution: rec
Date: Tue, 22 Dec 1992 01:46:31 GMT

alexander.inglis@canrem.com ("alexander inglis") writes:
:   >    Subject: Harnoncourt and Svedja
: 
: MH>  I have noticed that many people express some interest in Harnoncourt and
:   >his Beethoven symphonies.  I have only heard a few of his interpretations,
:   >mainly from "The Record Shelf."  As you probably know, Jim Svedja regards
:   >NH as "an incompotent bozo," and from some disgusting Baroque recordings I
:   >heard, I would have to agree - I heard some Handel on period instruments tha
:   >was just comical...  So I am very curious how this guy does Beethoven.
:   >  This also brings up the question of what to think of JS.  In general, I te
:   >to agree with his recommendations, but there are exceptions.  For example, h
:   >says of Karajan's Parsifal : "I wouldn't wish it on a dog,"  while I think
:   >it is one of the finest recordings I own.  So if I am suspicious of NH, it i
:   >not because JS does not like him, but simply because I have heard only rotte
:   >music come from him.  What do you think?
: 
: Just to clear things up for peanut gallery ... is Jim Svedja that fellow
: with about an hour weekly record reviews who plays 30 seconds of
: something and then begins a voiceover "discussion" of it? And while I
: can respect strongly held views, I'd be greatly suspicious of anyone
: calling a musician of Harnoncourt's stature "an incompetent bozo". Let
: me hasten to add that SJ may have backed up his abrupt sounding opinion
: with detailed arguments. Nonetheless ...
: 
: Politeness still counts for something.
: 
: As for the NH Beethoven symphonies, I have heard extended excerpts under
: less than ideal conditions -- in record stores. Didn't do much for me
: and I am wondering what the fuss is all about. Harnoncourt, OTOH, has
: made many recordings I have found outstanding. Nor have I heard
: Karajan's Parsifal but I have heard his sterile Ring cycle. And while
: I'm on it, I will never know what the critics find so overwhelmingly
: uplifting about HvK's live Mahler Ninth. A big disappointment for me.

Hallelujah - somebody else agreees with me about HvK's Mahler 9!!!

Listen to the Harnoncourt Beethoven under ideal circumstances and you
will understand the fuss.
--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Urban legends
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 22 Dec 1992 01:51:44 GMT

jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless) writes:
: In article <18746@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
: >I heard a story about Andre Previn when he was working in Hollywood. The
: >musicians in the studio orchestra tuned up on B rather than A. But Previn had
: >perfect pitch, so when the rehearsal started, he says "OK, let's transpose
: >everything a tone up!" (Corrections to this story welcome if it is not
: >exact.)
: 
: It would be a tone down, to restore A=440, but good story! =-)
: 
: I saw a PBS special of Solti's "new look" at Beethoven 5.  In rehearsal,
: he stopped at the oboe solo in the first movement, and told the CSO the
: following (loosely):
: 
: Dr. Mengelberg was conducting the 5th and stopped his orchestra at the
: oboe solo.  He then talked for several minutes about his conducting 
: teacher, who was a student of a student of Beethoven himself, and thus
: the solo should always be played THIS way (insert hordes of adjectives
: here).  At the end of the speech, the oboist paused, then said,
: "So, Dr. Mengelberg, should I play it forte or piano?"

Willem Mengelberg was famous for talking for around 70% of a
rehearsal, and frequently infuriated recording enmgineers by, right in
the last bars of a 'final take' shouting "yes, *that's* the wasy it
should go!" to the orchestra.

Incidentally, Solti should prodeuce as fine an orchestra as WM's
Concertgebouw.... 

Another tonal incident: there is a story that an orchestra (no source
to hand right now) once began a rehearsal of the Eroica on
Furtwaengler's birthday in E major. After 10 or so bars, WF - who did
not have perfect pitch - stopped them with 'something's not right
today...'

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Gorecki harpsichord concerto
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 29 Dec 1992 16:51:05 GMT




For fans of the contemporary Polish composer H-M Gorecki
and/or those who regret that de Falla wrote just one chamber 
concerto for harpsichord:

	"Rhythm Plus"
	Elisabeth Choinacka, harpsichord
	Concerto Avenna, Varsovie
	cond, Andrzej Mysinski
	ADDA 581 233
	  Gorecki:  Concerto for hpschd & strings, op 40.
	  also, works by Ferrari, Horovitz, Mache, Knittel

A small masterpiece.





Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: beethoven's no. 4 symphon
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 22 Dec 92 14:54:07 EST

   >    Subject: Beethoven's No. 4 symphony

EHS>hello,
   >I need opinions of Beethoven's no. 4 symphony. I am in the university
   >orchestra and we're going to try it next year. It would be great if
   >someone who has played this symphony can tell me about the piece. Thanks
   >in advance.
   >--
   >Er Hiok Song                                                        |
   >DISCS, Faculty of Science, National University of Singapore.        |
   >email erhiokso@iscs.nus.sg                                  |

Would Robert Schmann's opinion do? -- "Like a slender Greek maiden
between two Norse giants" -- referring to the Eroica and the Fifth.

I have never heard a more dazzling performance of the 4th than
Furtwaengler's. It was something of a specialty of his. There are live
post-war recordings on DGG and a studio performance on EMI. These are
well circulated performances which are likely to be available to you in
the University library. I recommend you invest the 35 minutes or so it
takes to listen to one.

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: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Cage review
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Fri, 1 Jan 1993 21:33:42 GMT

I would like to put in a good word for the newest Cage release on Mode:
The Complete String Quartets Volume 2, Mode 27.  This disc includes the
String Quartet in Four Parts (1949-50) and Four (1989), written specifically
for the Arditti Quartet who are the performers on this CD (as well as on
Volume 1, Mode 17).

The early String Quartet is somewhat interesting -- it shows something of
a transition from Cage's earlier, more "traditional" (not in terms of
instrumentation for which the String Quartet is obviously more conservative,
but in terms of the use of functional harmony as exemplified by the Sonatas
and Interludes for Prepared Piano) style of composition to the chance-
dominated style which was to begin shortly with the Music of Changes.  The
second work is Four, and this is the best thing I have heard by Cage to this
point.  I greatly enjoyed it.  I'll leave any discussion of the music at that
since the excellent liner notes were written by our own Jamie Pritchett.

Just a few comments about Cage in general, hopefully without starting another
too-soon-to-degenerate discussion:  First, I have spent some time studying
taoism before any exposure to Cage and as such have something of a basis for 
indentification.  However, it is really the music itself which I have enjoyed
rather than any philosophical posturing.  It occurred to me to listen to
"silence" long before I heard of Cage -- though I suppose one could argue
that Cage had previously introduced it to the collective unconscious.  Also,
I can hear my own pulse and nervous system without the use of any sort of
anechoic chamber; this sort of thing has always struck me as silly.  The
bottom line is that there is music by Cage which I really enjoy listening
to: Four being the latest example.  Anyway, the two volumes of string
quartets are highly recommended for anyone interested in hearing the music
behind the stories.

T. M. McComb
From: jfl@panix.com (Jeff Lipton)
Newsgroups: rec.music.classical
Subject: Re: RFV: BRUCKNER RE: THE BEST
Date: 29 Dec 92 22:17:50 GMT
Organization: PANIX Public Access Unix & Internet, NYC

In article <1992Dec27.173906.16090@athena.mit.edu> syliao@athena.mit.edu (Stan Yi-Huang Liao) writes:
>Frank.Panettiere@f2010.n391.z1.FidoNet.Org (Frank Panettiere) writes
>>OK.  Based on his 0th, 4th, 7th, and 9th Symphonies, and his Te Deum, I'm
>>another who enjoys, and does not HATE, Bruckner's music.  
>
>The 8th is also a great one.  I love its finale!
>
>>Let's see.  If now two of us on this net don't "hate" his music and 99% DO,
>>then there will have to be 198 votes on the "other side".  I'm waiting to
>>see that extensive list!   
>>                                                        Frank
>
>Now there are at least three of us on this net who like Bruckner's
>music.  So we are expecting 297 votes on the "other side" now.
>
>                                                         Stan


Make it four! And add the 5th symphony, the Masses, and Motets to the
list of his glorious compositions...
 - Jeff

-- 
+----------------------------------------------------------------------------+
| Jeffrey F. Lipton, M.D. (jfl@panix.com) |   (212)-982-1219 (home)          |
| 353 E. 17th, #19-E  NY, NY 10003        | "Disobedience was Man's First    |
+------------------------------------------------ Virtue" (Oscar Wilde) -----+