HDTenEightyP/NetNews huggingface dataset:
From: delatizk@bbn.com (Jonathan Delatizky)
Newsgroups: rec.music.classical
Subject: Re: Mahler 9 (was Re:Mahler 1)
Date: 5 Oct 92 14:38:31 GMT
NNTP-Posting-Host: bbn.com

dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:


>Das Lied:                                                        
>                               But once again, for me, Horenstein
>blows the competition away with his BBC Northern SO performance (April
>1972) with John Mitchinson and Alfreda Hodgson. This was available on
>an Ittalian label descant, and the Berkshire Record Outlet in MA had
>copies. I believe Descant is now defunct but this performance is
>shortly to reappear on Music and Arts. 

It has done so, as of about a month ago.

The playing is more than a bit ragged at times, but I agree that the
performance is exceptional.  I think I still prefer Ferrier/Patzak/Walter of
those that I've heard (many, but not as many as Deryk), but it's a close
call.  I'm delighted to have finally made its aquaintance.

Deryk - perhaps you'd like to post a list of Horenstein recordings (not just
of Mahler) that are recommendable.  Of the relatively small number that are
available, several are handicapped by poor sonics or poor playing.  I'm
generally reluctant to shell out the $$ for a recording which may be of
dubious quality, unless I know upfront what I'm getting, which is hard in the
case of most live and semi-pirate older and historic recordings.


--
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
From: tkurs-2@micky.uni-mainz.de (Teilnehmer am TeXkurs fuer Naturwissenschaftler)
Newsgroups: rec.music.classical
Subject: Re : A Midsummer night's dream
Keywords: midsummer night
Date: 30 Sep 92 10:15:12 GMT
Organization: Johannes Gutenberg Universitaet Mainz

The Mendelssohn version is simply called ' Ein Sommernachtstraum'
and no opera but more a kind of incidental music, written to the
German translation of Shakespeare's comedy.
It does contain the famous wedding-march you can again hear at Wagner
and also the famous overture.
The opera 'A Midsummer Night's Dream' was written by Benjamin
Britten. I can really recommend the recording by the composer under
the London/Decca label (historic recordings).
There was however still another version of Shakespeares play
by Henry Purcell : 'The fairy Queen' .
For early opera it is very nice listening to and no doubt a
masterwork. The hmour in this opera can well have been an 
inspiration for B. Britten as well.

Oliver Wuelk / Mainz
From: rlk@underprize.think.com (Robert Krawitz)
Newsgroups: rec.music.classical
Subject: Re: Zander/Beethoven 9
Date: 4 Oct 92 18:14:44
Organization: Thinking Machines Corporation, Cambridge Mass., USA
NNTP-Posting-Host: underprize.think.com
In-reply-to: rbrooks1@cc.swarthmore.edu's message of Sun, 4 Oct 1992 18:19:26 GMT

In article <R4BRBMX4@cc.swarthmore.edu> rbrooks1@cc.swarthmore.edu (Rob Brooks) writes:

   I recently read an interesting Gramophone review of the just-issued
   recording of Beethoven's 9th with Benjamin Zander conducting the Boston
   Philharmonic (a semi-professional Boston-based group, *not* the BSO). 
   Could anyone who has heard this recording please share their thoughts about
   the tempi, playing, etc.

   Thanks in advance :)

As for the performance, it's a perfectly good performance.  I found that
I really liked the tempi (which after all are the main point of this
performance).  It has a very different feel from the other recordings I
have listened to, but I think Zander's decision to follow the original
tempo markings was a good one.
--
ames >>>>>>>>>  |	Robert Krawitz <rlk@think.com>	245 First St.
bloom-beacon >  |think!rlk				Cambridge, MA  02142
harvard >>>>>>  .	Thinking Machines Corp.		(617)234-2116

Member of the League for Programming Freedom -- write league@prep.ai.mit.edu
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: Mahler's 8th Symphony
Date: 6 Oct 92 09:53:54 GMT
Organization: St. Andrews University, Scotland.

In article <1992Oct5.225548.29390@athena.mit.edu> syliao@athena.mit.edu (S Yi-Huang Liao) writes:
>I'm seeking recommendation on this Symphony.  I have listened to the following
>recordings:
>
>Tennstedt (London SO)
This is actually the London Philharmonic >
>
>Bernstein
I heard the start of his second version on DG, very dissapointing. The Organ sounded very puny indeed!
>
>Many thanks in advance.
>
>Stan Liao
>syliao@rle-vlsi.mit.edu

Gavin Ramsay
From: haynes@cats.ucsc.edu (Jim Haynes)
Newsgroups: rec.music.classical
Subject: Another Harpsichord for sale!
Date: 1 Oct 92 05:29:40 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: hobbes.ucsc.edu


Also I remember UCSC has a harpsichord for sale - if anyone is interested
email me and I will get the particulars.
-- 
haynes@cats.ucsc.edu
haynes@cats.bitnet

"Any clod can have the facts, but having opinions is an Art."
        Charles McCabe, San Francisco Chronicle
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Recording Poulenc
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Wed, 30 Sep 1992 02:09:03 GMT

In article <Buy07I.K5y@cs.columbia.edu>, ji@cs.columbia.edu (John Ioannidis) writes:
>In article <1992Sep20.160655.7198@timessqr.gc.cuny.edu> kos@cunyvms1.gc.cuny.edu writes:
>>If the copyright holder of a copyrighted edition can prove that you have
>>used his edition, litigation can be brought against you. Many pieces of
>>music have at least one or two notes that are in doubt, depending on what
>>source was used.  The choice of how to reproduce the music in a current
>
>Hmmm... I hope I'm not giving ideas to music editors/publishers, but
>what if an editor gratuitously changes a couple of notes here and
>there to "sign", as it were, the edition? Kinda like what phone
>companies do with their White Pages -- include nonexistent names and
>numbers so that if someone copies them, they can detect it. Has this
>been known to happen, or is it just my sick mind?

I can't cite a source, but it has been shown to me that the 19th century
Schubert Gesamtausgabe intentionally omitted accidentals in a few places for
this express purpose.

Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
Newsgroups: rec.music.classical,rec.music.early,soc.culture.british
From: jacob@max.cc.brandeis.edu ( )
Subject: songs by Sir Thomas Wyatt / Robert Burns -- original melodies [?]
Followup-To: poster
Organization: Brandeis University Math Department
Date: Sun, 4 Oct 1992 10:31:18 GMT

Is it true that melodies to some of the songs written by
Sir Thomas Wyatt (Sassenach, 16th c.) and Robert Burns
(Scot, 18th c.) were actually composed by Wyatt and Burns
themselves? (In other words that those "songs" were actually
written _as_ songs?)

If this is the case, do you know of any sources for the
original musical settings by Wyatt and Burns?

Please reply in email.

Thanks
Jacob
Newsgroups: rec.music.classical
From: abrocke1@cc.swarthmore.edu (Aaron Brockett)
Subject: Re: Need source for posters with classical music themes
Organization: Swarthmore College
Date: Fri, 2 Oct 1992 00:14:45 GMT

In article <1adv12INN7d9@network.ucsd.edu>, mbh@sdphu1.ucsd.edu (Matt
Harrington) writes:
> 
> I'd like to get some posters to decorate my apartment with.  I can't
> find any with classical music topics at the local poster store.  I'm
> particually interested in a sketch of Beethoven's profile which I've
> seen on a T-shirt.  Anyone know where I can get something like this?
> Please send a copy of your response to me via email in case I miss it on
> the net.  



(But please post it as well, or e-mail me too, 'cause I'd also really like
to know)

--Aaron Brockett


Thanks in advance.
> 
> 					Regards,
> 
> 					Matt Harrington
> 
> 



Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel)
Subject: Re: Mahler's 8th Symphony
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Date: Tue, 6 Oct 92 17:49:12 GMT

In article <1992Oct5.225548.29390@athena.mit.edu>, syliao@athena.mit.edu (S Yi-Huang Liao) writes...

>I'm seeking recommendation on this Symphony.  I have listened to the following
>recordings:
> 
>Tennstedt (London SO)
>Solti (Chicago)
>Kubelik (Bavarian Radio)

>I expect more than these have to offer.  I'd like to listen to your opinions
>on the following recordings and any others:
> 
>Bernstein
>Ozawa
>Shaw
>Inbal
> 
After Tennstedt and Solti, it's all down hill...

Ron
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Mahler 1
Date: 30 Sep 92 21:17:48 GMT
Organization: pubs
In-reply-to: enute1@cc.swarthmore.edu.cmccon1's message of 30 Sep 92 18:50:43 GMT


For Mahler 1, I like the versions that include the Blumine movement.  I
think it improves the balance of the other movements.  I think there's a
recent version that includes the movement, but I can't remember whose.

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Mahler and all that Rott
Organization: Visual
Date: Thu, 1 Oct 92 12:46:28 GMT

Rott's symphony, to my ears, shows signs of many influences: Wagner 
(first movement), Brahms (last movement -- esp. the "big tune," which
borrows liberally from the finale of Brahms' First Symphony -- which
of course harkened back to Beethoven's Ninth) and of course, Mahler
(most specifically in the Scherzo and the finale.  Some of the horn 
calls sound like they've come directly from the Mahler Second.)  

Perhaps the Rott symphony is not as original or inventive as
Mahler's works, but one can only wonder -- what would Rott have 
produced as he reached musical maturity?  The symphony that survives
is astonishingly well-thought-out.  The work he would have produced
ten or more years down the road would have been mind-boggling.  Keep
in mind that Rott was barely in his twenties when he wrote his work.

I also don't fault Mahler one bit for starting to walk the same
symphonic path as Rott.  If Rott's music served to help Mahler write
what he did, all the better.  

Anyway, according to the liner notes on the Hyperion recording, when
Rott went insane he was on a train and started raving about how Brahms
was trying to kill him.  Then, when in the asylum, he used his own
music manuscripts for toilet paper.  The symphony that we have is
itself a reconstruction of sorts.  

Anyone for whom I've ever auditioned this work has been astonished by it,
not only because of the many similarities to other composers that crop
up, but for it's success as a late Romantic symphony in its own right.
Rott was truly ahead of his time.

Rob
From: jtbell@hubcap.clemson.edu (Jon Bell)
Newsgroups: rec.music.classical
Subject: Re: Music Club (Mail Order) Recommendations Sought
Keywords: Music Club, Mail Order
Date: 6 Oct 92 03:37:08 GMT
Organization: Presbyterian College, Clinton SC

I've been dealing with H&B Recordings Direct (a.k.a. Haverstick & Ballyk)
for some time now, and have been pleased with their service.  It's not a
"club" where you have to return a card to keep them from sending their
"selection of the month"... they only send what you order.

They put out a master catalog once (maybe twice) a year, and a monthly bulletin.
Each month's bulletin lists new issues from all labels, and complete catalogs
for about five "sale" labels with reduced prices for that month.  All the
big labels come on sale frequently, and many lesser labels somewhat less
frequently.

If they're out of stock on part of your order, they bill you only for the
stuff they actually ship.  When the back-ordered stuff arrives, they send a 
postcard, and give you a chance to re-order _at_the_original_price_, even if
it's a sale price which has since expired.

In order to take advantage of the "sale" prices, you have to pay a "membership
fee" ($7 per year).  This also give you about a dollar off per disk on
regular catalog orders.  ("Sale" prices are about another dollar lower.)

Phone: 1-800-222-6872
Fax:   1-512-366-4774

Mail:  H&B Recordings Direct, 2186 Jackson Keller, San Antonio TX 78213

------

Jon Bell / Physics & Comp. Sci. / Presbyterian College / Clinton SC
From: beh@kropotkin.gnu.ai.mit.edu (various Howellses)
Newsgroups: rec.music.classical
Subject: BOSTON CONCERT
Date: 1 Oct 92 21:46:27 GMT
Distribution: rec
Organization: Internet access via the Free Software Foundation


There will be a performance of Handel's Alexander's Feast done by the
Boston Cecilia on October 17, 1992.  The soloists include Nancy Armstrong and
Robert(?) Honeysucker.  The performance takes place in Jordan Hall, and
begins at 8:00 p.m.  If anyone is interested in tickets, please call me
(Nancy Howells) @ (617) 666-8710.

For those of you Handelphiles, there will be Cecilia's Feast beforehand, a
light supper and a discussion with noted composer/musicologist Daniel
Pinkham.  Again, call the above number for information/tickets.

Hope to see you there, as I'm singing in it...

--Nancy Howells
(beh@gnu.ai.mit.edu)
Newsgroups: rec.music.classical
From: tygar+@cs.cmu.edu (Doug Tygar)
Subject: Re: Alkan
Keywords: Organ recording
Organization: School of Computer Science, Carnegie Mellon
Date: Sun, 27 Sep 1992 17:01:02 GMT

In article <Bv0KEH.5D0@comp.vuw.ac.nz> sowhat@gphs.vuw.ac.nz (Christian Zick) writes:
>By the way, how do you like Olli Mustonen's recent recordings of
>the 25 Preludes?

While I have not yet heard this recording, I did note that it won the
Gramophone Award for Best Instrumental Recording.
Newsgroups: rec.music.classical
From: dclason@dante.nmsu.edu (Dennis Clason)
Subject: Re: works for bizarre bottom-heavy ensembles (was: Gordon Jacob)
Organization: New Mexico State University, Las Cruces, NM
Date: Mon, 28 Sep 1992 15:39:08 GMT

In article <Bv3KDq.LxL@mach1.wlu.ca> sweaver3@mach1.wlu.ca (scott weaver 9209 U) writes:
>Re: that Duelling Tubas piece the person from Camosun mentioned, does anyone
>know if that's in print and where I could get it?
>e-mail to  sweaver3@mach1.wlu.ca .
>--- the Dream Weaver  (aka Scott)

Well, before you go out to get it, you
ought to understand this.  Just as Duelling
Banjos is actually a breakdown for banjo and guitar,
Duelling Tubas is (the same) breakdown for
trombone and tuba. 

If memory serves, the banjo line is taken by
the tuba, and the guitar line by the trombone.
An F attachment helps the trombonist a lot.  A
valve trombone might help more, but simply wouldn't
be authentic.

If you'll allow me to remove my tongue from my
cheek for a moment, I doubt that this is
published in the "Duelling Tubas" form -- it's
certainly not listed in the King Brass Player's
Guide.  On the other hand it is published in
several forms (I've seen in tablature, which
doesn't help brass players) for banjo(s) and/or
guitar(s).  If you can find a version with conventional
staff notation you can do it.  Just remember to
blame Martin Mull.

Dennis Clason,
Trombonist at large.
From: lbr@holos0.uucp (Len Reed)
Newsgroups: rec.music.classical
Subject: Re: Why switch to CD?
Date: 6 Oct 92 19:15:11 GMT
Organization: Holos Software, Inc.

In article <1992Oct6.014327.9871@galileo.cc.rochester.edu> ttak@troi.cc.rochester.edu (Tim Takahashi) writes:

>Case 2: CD's last longer than LP's - media permanence. The media may be
>   permanent (the jury is still out in my book) but are the players going
>   to be around? Frankly, I don't see too many functioning 1985 vintage
>   CD players as of this writing, the transports seem to have gotten flakey.

So what?  Your player dies; you go out and spend another $100-$300 on
a new player.  Big deal.

>   10 years after the CD is obsolete, can we still play the old technology?
>   Think about the state of BetaMax video tapes in 1992!

Irrelevant.  That was a system that never really reached critical mass.
CDs are far more popular the BetaMaxes.  Most Betamax owners, like VHS
owners, time-shifted programming and rented tapes.  CD owners, OTOH, buy discs;
many persons have collections of hundreds or thousands of discs.

>   I have modern equipment that can play 78's - I can listen (and *do*
>   listen) to original pressings dating back to the first decade of this
>   century. Surely 78's are delicate, but media permanence is not a problem!

But most turntables sold in the last $20 years do NOT support 78s.  To
support 78s, one has to look for a turntable that supports them.  They're
not hard to find, though, because there's a market for them.  Now, don't
you think that as long as they are folks with large CD collections that
someone will make players?

>Conclusion : the music is worth the media, no matter how good or bad the
>   media is. If you are interested in post 1985 issues, you must purchase
>   either a CD or Cassette. There are very few people who have been agressive
>   as I in seeking that last of the LP pressings.

All true, which is why your followup was largely irrelevant.  The poster
asked if he should switch from cassette to CD; you injected a lot of
irrelevant commentary on LPs.

I see no compelling reason for him to switch to CD.  He's happy with the
cassette format and fidelity, and CDs are more expensive.  OTOH, at least
in the US, CD players can be bought for as little as $89.  There are
those who claim such players won't be as good as expensive ones, but
for someone who is happy with pre-recorded casette fidelity they'll serve
fine.  Having a bargain disc player would allow him to buy CDs for issues
that aren't available in casette form.
From: jeffw@or.credence.com (Jeff Winslow)
Newsgroups: rec.music.classical
Subject: Self-publishing (was Re: music scores cost a fortune!!!)
Date: 6 Oct 92 01:31:39 GMT
Article-I.D.: credence.1992Oct6.013139.19135
Organization: Credence Systems Corp. Beaverton, OR

In article <47181@dscatl.UUCP> mgresham@dscatl.UUCP (Mark Gresham) writes:

>On the basic level, it is technically easy to self-publish to
>finished product.  Those who don't have the equipment and
>expertise in that phase can either get it or can have a service
>company do it for them.

This is going to sound ignorant (and why not - I'm asking because I don't
know!), but I've been wondering about the best way to solve this common
problem: I have a piece, say, song with piano accompaniment, in manuscript
form. It's more than readable, but it needs a lot of work to put it into a
form a performer would want to look at. What's the best way of doing that?
My brother makes beautiful copies of his work by hand, but I have neither
the time nor the inclination to follow that path. However, I don't mind
spending some bucks on it. Are these service companies that you mention
in the business of performing this process as well as the creation of
multiple copies? And if so, what would you suggest as a method for finding
a good one? Is there any particular reason to try to find one close by -
does personal contact make much difference? (If not, I'm sure you can
recommend one, eh, Mark? :-))

This must be one area where computers are a godsend to the composer.

							Jeff Winslow
Newsgroups: rec.music.classical
From: DAVID.CASHMORE@OFFICE.WANG.COM ("David Cashmore")
Subject: Who wrote "A Midsummer Night's Dream"?
Organization: Mail to News Gateway at Wang Labs
Date: 30 Sep 92 02:45:26 EST

I seem to remember hearing a version by Benjamin Britten one Sunday afternoon
on Concert FM.  Isn't the famous wedding march (yes we had it at ours) from
the Mendolsohn (SP also?) version?

David
From: ucap22w@ucl.ac.uk (Martin S T Watts)
Newsgroups: rec.music.classical
Subject: Re: haydn symphony recommendations
Date: 30 Sep 92 17:10:05 GMT
Organization: Bloomsbury Computing Consortium

inr@eccles.caltech.edu (I. Neill Reid) writes:

> yes, it's the Haydn backlash. Sorry, Asbed Bedrossian, but
>I agree completely with Deryck Barker - Haydn was the finer
>symphonist than Mozart (the piano concerti are another matter).

But what do you and Deryck mean by finer symphonist? In his time, Haydn was
probably the more innovative in developing the form, but surely Mozart was the
more imaginative of the two in terms of what he used the form for, as he was
in most other genres. I'm fond of Haydn myself, but not to the extent of going
overboard in comparing his efforts to Mozart's.

One genre where I *do* think Haydn superior to Mozart, though, is choral music.
Haydn seems here to have been much more consistently inspired than Mozart, and
I can't for the life of me see why the latter's masses have achieved such
popularity. The fact that his most famous, the Requiem and C-minor, both
remain  unfinished seems unsurprising (admittedly more so in the case of the
Requiem!). Some of Mozart's fugal writing is positively mind-numbing and if
anybody can explain to me why on earth the Requiem is so popular, without
mentioning the film 'Amadeus', I might be a happier man.

Martin Watts.
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Beethoven 32nd sonata
Date: 29 Sep 1992 19:11 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

Why all this fuss over syncopation? It was a standard tool from
at least Josquin  onward - at the moment we're working on Byrd'sd
3-part mass, and there are several sections where the tenors play
off the rythmn established by the basses or altos. 
 There's more to jazz than the syncopation.


Newsgroups: rec.music.classical
From: alan@highlite.uucp (Alan McConnell)
Subject: Re: haydn symphony recommendations
Organization: Gotham Communications Research
Date: Sat, 3 Oct 1992 00:24:26 GMT


Hey gang, there's no reason why anyone, to extol Haydn, has to put down
Mozart, or vice versa.  Each of those two guys thought, and loudly
proclaimed, that the other walked on water.  Let's all count our blessings,
at least once daily, that we have Haydn to love, _and_ Mozart, _and_ Bach . .
 . . not to mention Reger, William Walton, and John P Sousa.   Winners and
losers is for game shows IMHO
Alan McConnell
-- 
Alan McConnell             "What wondrous life is this I lead!
Pixel Analysis              Ripe apples drop about my head . ."
Newsgroups: rec.music.classical
From: Chris.Simison@bbs.oit.unc.edu (Chris Simison)
Subject: Re: Mahler 1
Organization: Extended Bulletin Board Service
Date: Thu, 1 Oct 1992 01:26:04 GMT

In article <QH7QBXJN@cc.swarthmore.edu> enute1@cc.swarthmore.edu.cmccon1
writes:
>but I've heard that the new Tenstett (spelling?) C.S.O. live recording on
>Angel/E.M.I. is just incredible.  Any advice?

I have the Tennstedt, and a few other recordings, and, in my opinion, the
Tennstedt is _definitely_ the best of the four that I have....
It's definitely worth having.....

Chris Simison
--- simison@imsa.edu
--- Chris.Simison@lambada.oit.unc.edu
--- csimison@nyx.cs.du.edu
--- copland@infopls.chi.il.us

--
   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