HDTenEightyP/NetNews huggingface dataset:
From: dgold@basso.actrix.gen.nz (Dale Gold)
Newsgroups: rec.music.classical
Subject: Re: Met Meistersinger
Date: 21 Jan 93 19:02:36 PST
Organization: New Zealand Symphony Orchestra

Quoted from <1993Jan20.062418.27749@timessqr.gc.cuny.edu> 
  by kos@cunyvms1.gc.cuny.edu (Bob Kosovsky):
> I saw the second performance of the new production of Die Meistersinger at  
> the Met Opera on Jan. 18 (according to the program, the 293rd Met opera
> performance of that opera).                                              
> 
> Bernd Weikl had cancelled all performances, so Donald McIntyre had taken
> over as Sachs.  He was not at all bad in the first act or two, but he
> was clearly getting fatigued by Act. III, sc. 1.  At least he had saved
> up to deliver a reasonable (if unengaging) "Verachtet dir die Meister nicht." 

I did about 10 performances of 'Der Fliegende Hollander' with McIntyre
last October and although parts of it were wonderful, he seemed tired then
too, and had some problems with voice control.  He did Meistersinger with
us about 5 years ago, and I enjoyed that very much, and felt he displayed
a lot more stage presence in that.  Maybe it's true that too much Wagner
is bad for your health...

Dale

--
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand
From: delatizk@bbn.com (Jonathan Delatizky)
Newsgroups: rec.music.classical
Subject: Re: Seeking comments on BBC Classical Music Magazine
Date: 25 Jan 1993 14:47:52 GMT
Distribution: usa
NNTP-Posting-Host: bbn.com

Here in Boston it's been available for about five months now.
Initially it appeared at Out of Town News, at $10/issue (including the
CD).  More recently it has begun appearing at the local Tower Records,
at $7.95.  

I bought the first couple, and will probably buy occasional issues in
the future.  The magazine includes a few feature articles, written in
an popularly-accessible style.  There's more depth than one would have
found in High Fidelity in its latter years, but perhaps less than one
might have found in Opus.  Lots of color and gloss.

About one third of each issue is devoted to listings of UK radio and
TV schedules.  While of some interest on this side of the Atlantic,
this section is more frustrating than useful here.  

The recordings are all made by the BBC.  Those provided with my issues
were a Tchaikovsky Pathetique under Andrew Davis (pretty good), a
Britten Sinfonia da Requiem (fair), and the Bruckner 9 mentioned by
another poster (decent, but no real competition for the likes of
Giulini).

I think the current issue has a Strauss Alpine Symphony.  

At $10, it's a little expensive for what it delivers.  I'd say that
it's definitely worth $5, though.



Jonathan Delatizky  *  Bolt Beranek & Newman  * Beauty waits in ambush for us.
delatizky@bbn.com   *    10 Moulton Street    *  If we are sensitive, we will
{...}!bbn!delatizky *   Cambridge MA 02138    *  feel it in the poetry of all
+1 617 873 3366     *  FAX: +1 617 873 2205   * languages. [Jorge Luis Borges]
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Define "Well Tempered"
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Wed, 27 Jan 1993 16:14:11 GMT

In article <1993Jan26.234010.10975@Princeton.EDU> Roger Lustig writes:
>>(Question:  Are there any serious orchestral or large ensemble 
>>pieces written in one of the far out keys?  And are there any 
>>with piano?  If so, what kinds of tuning problems do they have?)+

It depends on how one defines "far out" I suppose, but I always thought that
the 12 "standard" keys (derived as some perturbation of Zarlino's previous
discussion on the 12 modal scales) were: C major, C minor, D major, D minor,
E minor, F major, G major, G minor, A major, A minor, Bb major, B minor.
These keys certainly go back to the early days of tonality.

>Haydn Farewell Symphony (F# major/minor); it plays on all the 
>difficulties ofthe key.  The one that follows is in B major.
>Many arias by Handel in F sharp minor.  Generally lamenting.

Corelli Op. 2/9 in F# minor.

>Lots of Chopin.  (D flat/b flat minor were favorite keys because they
>feel nice under the hands.)  

Chopin certainly used new keys.

>Beethoven Sonata Op. 78: F sharp.  Moonlight Sonata: C sharp minor.

Beethoven as well -- though it is his Ab major which strikes me as most
impressive in this regard.

>The B minor Mass.  Mozart's B minor adagio.

There's tons of earlier stuff in B minor.  Indeed, wasn't it one of the
most used keys in the early baroque?

Just some idle talk....

T. M. McComb

Newsgroups: rec.music.classical
From: JEFFS@UMRVMB.umr.edu
Subject: Re: Mahler 6
Date: Thu, 28 Jan 1993 14:19:04 GMT
Organization: Univ of MO - Rolla

Speaking of Mahler's Sixth, Szell's performance on a single mid-price
CBS/Sony CD would be quite a bargain if that recording is anywhere near
as good as his recording of the Fourth.  Is it?
Jeff
Newsgroups: rec.music.classical
From: bseymour@encore.com (Burch Seymour)
Subject: Re: Boosey sues Disney
Organization: Encore Computer Corporation
Date: Wed, 27 Jan 1993 16:13:20 GMT

jdooley@venus.engr.ucdavis.edu (John Dooley) writes:


>In article <1993Jan24.132846.15925@cronkite.ocis.temple.edu> christen@astro.ocis.temple.edu (Carl Christensen) writes:
>>I didn't think you could sue (public domain material) but I hope they
>>win millions.  Disney nowadays seems to have 100 lawyers and MBA's for
>>every artist, so I wouldn't mind seeing them lose.
>>

>I'm not sure why Disney's recent success means they deserve to be
>sued.  Afterall, they have been releasing very enjoyable films.
>Do you think there is something unlawful or underhanded about their
>success?

They clearly have profit as the first goal over giving the consumer
a fair shake. I bought the Laser Disc Collectors edition of Fantasia
when it first came out. Paid $100 for it because it was a limited
release, after 50 days if would never be available again. BS!!!!
I was at a local laser store last week and they had probably 40
"collectors edition" sets on the shelf. The Fantasia tapes are
available everywhere. What happened to the 50 day thing? Blatent
false advertising if you ask me (which nobody did :-) ).

I've got two Disney laser disks of Silly Symphonies. They have
repeated material on the two disks! Surely there are enough
Silly Symphonies to not repeat material on discs!

Look at their video tapes. Many are in the 18-30 minute length.
And this is old material that's long since paid for itself. They
*could* put a decent length tape out for little extra cost, but
giving the consumer a better value. 

For a contrast, look at the Golden Age of Looney Tunes sets by
Turner. 

-Burch-
Newsgroups: rec.music.classical
From: barrasam@uni2a.unige.ch (Ambroise BARRAS)
Subject: Frank Martin
Followup-To: rec.music.classical
Organization: Infolipo
Date: Thu, 21 Jan 1993 14:12:46 GMT

To R. Tuttle

> |>What's wrong with the world when the music of Swiss-born composer
> |>Frank Martin (1890-1974) is not played more? 

A swiss record company, called "Cascavel" (VEL),
issued on CD a lot of Frank Martin's works, and one of them 
particularly splendid, the a cappella dopple choir mass, by
Michel Corboz and his "Ensemble vocal de Lausanne".

Ambroise Barras
e-mail: barrasam@uni2a.unige.ch
From: dips@cad.gatech.edu (Deeptendu Majumder)
Newsgroups: rec.music.classical
Subject: Questions about John Knowles Paine & Donizetti
Date: 23 Jan 1993 15:04:31 -0500
Organization: Georgia Institute of Technology, CAE/CAD Lab
Distribution: usa
NNTP-Posting-Host: cae.cad.gatech.edu


I have couple of questions. I do not know much about classical
music. So please bear with me.

I was listening to John Knowles Paine's Symph # 2. I liked it.
But at places I noticed some very distinct similarities with
some works that I have heard before. For example in the first
movement there is a section that sounded like part of Beethoven's
7th symphony (I do not remember the exact movement) and then
the 3rd movement (Adagio) sounded little bit like the Adagietto
from Mahler's 5th symphony. Are these similarities just my 
imagination or do they show influence of certain other composers
on Paine ? or may be the similarities are just incidental ?

And I am trying to locate a piece by Donizetti that I heard on the
radio; but I am not sure if I have the name correct. Is there
anything called Introduction to Strings by him ?

many thanks
d.
-- 
Deeptendu Majumder
30963 Georgia Tech Station
Atlanta, GA 30332.
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Newsgroups: rec.music.classical
Subject: Re: Music Quiz - Murderous Composers?
Date: 26 Jan 93 22:21:15 GMT
Organization: University of Virginia

In article <basinski-250193122108@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>In article <1k019nINNmbq@escargot.xx.rmit.OZ.AU>,
>ryljjc@minyos.xx.rmit.oz.au (Jacqui Conn) wrote:
>> 
>> 2)  Of which (then young) French composer did Berlioz say: 'He knows everything, but lacks inexperience'?
>
>					Wagner (I think?)
>> 
Wagner wasn't French!!

-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote
From: dgold@basso.actrix.gen.nz (Dale Gold)
Newsgroups: rec.music.classical
Subject: Marie-Theresia v. Paradis
Date: 29 Jan 93 01:03:34 PST
Organization: New Zealand Symphony Orchestra

In looking for some music to play for a truly enlightened 
wedding (music by double bass and harp) I dug out a Sicilienne
by Marie-Theresia v. Paradis (1759-1824) which I've had for years
in an arrangement for violin and piano by S. Dushkin.

It sounds more like a late 19th century salon piece than the dates
suggest, and I think that it might have been made popular by Hefitz
at some stage.  I can't find the composer in my limited library of
reference books.  Does anyone know anything about the history of this 
work, or about Mr/Ms Paradis?

Dale

--
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand
Newsgroups: rec.music.classical
From: kamorgan@athena.mit.edu (Keith Morgan)
Subject: BMG December catalog query
Organization: Massachusetts Institute of Technology
Distribution: usa
Date: Thu, 21 Jan 1993 22:18:20 GMT

I need someone to clarify the offer in the December "Encore" (#
C/88/O, I believe). This was the one with 60% off. I've discarded mine
but I thought it was everything but the main selection at 60% off with
one free. Was I suffering from a Christmas fever? My choices arrived
today and both are 60% off but nothing free. And of course the deal is
to get as many as possible at the least expenditure!

Hopefully,

Keith Morgan

--

Keith Morgan kamorgan@athena.mit.edu
In the end nothing could be said of his work except that it was
preposterous and true and totally unacceptable. Edward Whittemore
From: plcdib@bristol.ac.uk (C D I Bertram)
Newsgroups: rec.music.classical
Subject: Re: Mahler 7
Date: 26 Jan 93 11:43:14 GMT
Organization: University of Bristol, England

I was surprised that I, too, liked Solti's Mahler 7. It also
has the (non-musical) advantage of now being available on
just one disk at mid-price. One thing that does make me angry
about the price of CDs is the fact that when Mahler symphonies
(ed Rattle 2) spill over onto a second disk, the record companies
charge double the price of a single disk. I'm willing to buy
some of what they say about the cost of recording etc, but
no way does the provision of an extra disk and a *very few* minutes
more music justify doubling the cost.
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Define "Well Tempered"
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 26 Jan 1993 00:09:41 GMT

In article <1k1bm6INNqli@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:
>In article <1993Jan22.190740.16225@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>
>>In his [Bach's] time
>>it was near impossible to implement true equal temperament; the one he
>>used had the advantage of feasibility.

>Being one who used to regularly tune harpsichords in equal temperament
>by ear, what does this mean? It's true that most well- and meantone
>temperaments are far easier and less time consuming, but equal tempera-
>ment is hardly "near impossible."

Hm.  Perhaps it's better to say that the procedure is hard to describe
without a bit of handwaving.  All we know of tunings is what the 
tuningmeisters wrote in their treatises.  Werckmeister described 
procedures for attaining his tunings; perhaps one couldn't *describe*
12-equal all that well.  

On the other hand, Vicentino's Archicembalo was supposedly in 31-equal,
which just shows to go you.


Roger
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: Classical Music for modern instrument
Date: 26 Jan 93 17:11:28 GMT
Article-I.D.: heurikon.2040
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

One could suggest that you take a listen to Gavin Bryars' "After the
Requiem" - the title track for his last ECM release. It features the
Balenescu quartet minus one, with the fourth part being supplied by
Bill Frisell on electric guitar. I've yet to find anyone who dislikes
it, unless of course Bryars' rather sombre and slow tempo bothers you.

I'm not really sure that it's entirely successful, but isn't there
a William Russo piece for blues band and orchestra on Deutsche
Gramaphon with the Siegel/Schwall band doing the blues band? I do
remember one of the movements of the work being pretty nice and the
other two being the usual 12-bar hambone with some poor orchestra
trying desparately to swing alongside. There's a Bernstein "Symphonic
Dances from West Side Story (this is from memory, so I could be 
painfully off the mark)" on the other side.

And I'm finally completely certain that our pal Scelsi didn't use
walls of screaming feedback in his orchestra pieces because he was
perfectly capable of orchestrating something that had the same sound.
Given his ability to turn orchestras into bells with a wave of his
wand (on that Aion/Pfat/Konx-om-Paix disk on Accord), would anything
surprise us?
--
In the desert I prayed only for mercy, not happiness, not vindication, 
willing to settle. No price can be too high, no cruelty excessive if the 
end finds cruelty exhausted and mercy audible as a hammer's sound in rain.
Gregory Taylor/Heurikon Corporation/8310 Excelsior Drive/Madison WI 52717
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Bach Art of Fugue
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Wed, 27 Jan 1993 00:57:20 GMT

gpalo@digi.lonestar.org (Gerry Palo) writes:
: >  Thus the mighty Art of the Fugue ends uncompleted.  And
: >yet, in its unfinished state it is a monument of musical
: >art far greater than most finished work.  It traverses the
: >outermost expanses of human reach.  Its creator died before
: >he could complete the journey, but he took us further than we
: >might ever otherwise go.
: >
: >-- 
: >Chuck Forsberg WA7KGX          ...!tektronix!reed!omen!caf 
: 
: Has anyone ever heard or played Tovey's hypothetical construction of the
: last Contrapunctus?  He never claimed it to be more than an exercise, 
: but based on his own genius and his intimate knowledge of the Art of
: the Fugue, I can imagine it would be very instructive, and perhaps 
: even reach moments of greatness.  Does anybody here know it?

Can't say I do. On Lionel Rogg's old EMI (?) recording he played his
own completion which was pretty good.

My favourite, though, has to be Busoni's. :-)

--
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: Sibelius suggestions?
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Distribution: usa
Date: Wed, 20 Jan 1993 21:23:05 GMT

ted@dgbt.doc.ca (Ted Grusec) writes:
[....]
: Next, I would say Symph. 7 and 6, the violin concerto and the string
: quartet..
: Following that Symph. 5, then 2.  Number one, in Sibelius' own words,
: "watered down Tschaikovsky" (he was highly, and "accurately",
: self-critical).  Number 3 is weakest of all, though historically
: interesting, especially for the last movement which foreshadows where
: he was going next.

A dissenting view: I cannot agree that the 3rd is Sibelius's 'weakest'
symphony. It is certainly a finer work than no.1 and - arguably -
no.2. I like them all however.

: At his frequent worst are the tone poems and such.

Bit sweeping this isn't it? How about En Saga?

--
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: coren@speed.osf.org (Robert Coren)
Subject: Re: Define "Well Tempered"
Organization: Open Software Foundation
Date: Wed, 27 Jan 1993 21:52:45 GMT

In article <qzq3qm#@rpi.edu>, mccomt@aix.rpi.edu (Todd Michel McComb) writes:
> In article <1993Jan26.234010.10975@Princeton.EDU> Roger Lustig writes:
> >>(Question:  Are there any serious orchestral or large ensemble 
> >>pieces written in one of the far out keys?  And are there any 
> >>with piano?  If so, what kinds of tuning problems do they have?)+

> >Lots of Chopin.  (D flat/b flat minor were favorite keys because they
> >feel nice under the hands.)  
> 
> Chopin certainly used new keys.

But the man said "orchestral or large ensemble". I took "with piano"
to mean "for (piano and orchestra) or (large ensemble including piano)".

> 
> >Beethoven Sonata Op. 78: F sharp.  Moonlight Sonata: C sharp minor.
> 
> Beethoven as well -- though it is his Ab major which strikes me as most
> impressive in this regard.

Likewise.

> 
> >The B minor Mass.  Mozart's B minor adagio.
> 
> There's tons of earlier stuff in B minor.  Indeed, wasn't it one of the
> most used keys in the early baroque?

Not to mention that very little of the B minor mass is in B minor; its
home tonic, insofar as it has one, is really D major.
Newsgroups: rec.music.classical
From: michalj@fuw.edu.pl (Michal Jankowski)
Subject: Re: "The double life of Veronica"
Organization: Warsaw University Physics Dept.
Date: Wed, 27 Jan 1993 18:53:59 GMT

>>>>> On Fri, 22 Jan 93 11:30:31 +0200, chorus@vntic.msk.su
>>>>> (AIST-network USER: ACADEMIC CHORUS conducted by SERGEY STROKIN)
>>>>> said:

.>     Music for "The double life of Veronica" composed by ZBIGNIEW PREISNER.
.> The base for this music - concerto mi minore of Van Den Budenmayer (sbi 152,
.> vers: 1785 & 1802 & modern) and any moments of "CARMINA BURANA" (K. Orf).

To make this absolutely clear:
There was no composer named Van Den Budenmayer. He exists only in the
fictional world in this movie.
The music in this movie is composed by Zbigniew Preisner.

   Michal Jankowski




Newsgroups: rec.music.classical
From: terjer@ifi.unit.no (Terje Rydland)
Subject: Re: Music <<NOT>> killed by movies
Followup-To: rec.music.classical
Organization: IfI, UNIT-AVH
Date: Wed, 27 Jan 93 10:38:26 GMT

In article <1993Jan27.001756.1@pearl.tufts.edu>, edente@pearl.tufts.edu
wrote:
> 
> A real rarity: A movie that is very nicely enhanced by the classical
> music used in it, music that is integral to the movie and not window
> dressing.  TRULY MADLY DEEPLY, a "small" British film about a pianist
> getting along in life after her lover, a cellist, has died. 

Is this a film about Barenboim and du Pre?


Terje Rydland
Newsgroups: rec.music.classical
From: twan@cv.ruu.nl (Twan Maintz)
Subject: theodore Presser
Date: Mon, 25 Jan 1993 11:49:27 GMT
Organization: University of Utrecht, 3D Computer Vision Research Group

Can anybody give me the address of the Theodore Presser 
music publishing company in the USA? (Nobody in europe
seems to know...)

Thanks in advance...

=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+
J.B.A. Maintz | Univ.Hosp.Utrecht | Heidelberglaan 100 | Room E 02.222 |
3584 CX Utrecht | The Netherlands | twan@cv.ruu.nl |
=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+

Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: Should I join BMG?
Organization: Indiana University
Date: Thu, 28 Jan 1993 15:22:04 GMT

In article <1k71niINNqj9@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
>name a few. The BMG club has quite a few Deutsche Harmonia Mundi, although 
>no Franzoesische HM, Teldec, Philips, DG, etc.

This is not correct, as in the past (when I used to be a member) I
have bought Teldec, Philips and DG recordings from the club. As you
all have said, though, the catalog doesn't change much from month to
month, and once you've bought some of the recordings you like you might
as well cancel your membership for a while.

You may get some surprisingly good bargains at times. I got my Solti
Ring on CD from them for example and it worked out fairly cheap! What
was it, buy 2 and get 1 of equal or lesser value free?

One caution though, they mark the mid-price discs, and sets, as if
they were full priced. The recent Toscanini reissues for example. Many
of them are available through the club, but as you can buy them at 
stores at around $10 per disc, it makes no sense to get them through the
club.

Despite their limited repertoir it sometimes you can sometimes get good
bargains even on recent releases. I am, as I mentioned, not a member any
longer but I noticed in an ad that they are offering the Gorecki 3rd
symphony, sometime many netters have talked about recently, for example.

Sami Mitra
From: wulfsohn@sdac.harvard.edu (Michael Wulfsohn)
Newsgroups: rec.music.classical
Subject: Re: Greatest Discovery of '92--Take 2
Date: 24 Jan 93 15:32:26 GMT
Organization: Harvard University, Statistical & Data Analysis Center

Gould and Laredo playing sonatas for violin/ viola and keyboard
by Bach
 
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Stravinsky's The Rake's Progress
Organization: University of Delaware
Date: Thu, 28 Jan 1993 14:22:36 GMT

In article <1993Jan27.233705.1@pearl.tufts.edu> edente@pearl.tufts.edu writes:

>On a recital disc that I particularly treasure,
> Dawn Upshaw sings Annie Truelove's 

(Actually Anne Trulove.)

>aria-cabeletta from Stravinsky's
><<The Rake's Progress>>.  The piece is magnificent, as far as I'm concerned,
>as is its performance. I'd call it a _tour de force_ if that wasn't a
>much overused term.  I know nothing about the rest of the opera.  Can
>it possibly be as exciting as this selection from it? 

You bet.  It's one of the greatest operas of our century, and a
magnificent piece of work.  I love it all.  There's a superior recording
(except for a weak Anne, alas) on Decca/London, conducted by Atherton.

There's also talk of a new recording in preparation, with Dawn Upshaw
and Jerry Hadley.  But its making and release may be years in the
future.

Jon Alan Conrad