HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.classical,
Subject: Who's driving this performance, anyway?
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Wednesday, 30 Sep 1992 21:36:41 EDT
Organization: City University of New York/ University Computer Center

Intentionally or not, Jon Alan Conrad's comments on the Milanov/Bjoerling Ballo
and the rise of conductor-driven (as opposed to star-driven) performances
should start a considerable thread. Which is the lesser evil? Which is the
greater event?

For many years, I was able to compenate for execrable casting at the Met by
paying attention to the orchestra. And the louder the orchestra got, the easier
it became to ignore the singing.

At the other extreme, I'll never forget the Tosca at which some unfortunate
conductor, unable to decide whether to follow Caballe or to follow Pavarotti,
seemed to think the wisdom of Solomon would be manifested in the decision to
try to keep the orchestra half way between them.

And then there was the truly memorable Pagliacci at which Jon Vickers strode
the stage at precisely the tempo he wanted until the conductor slowed down
to Vickers' pace.

Legend has it that, after opening a revival of Don Giovanni at the Met, an out-
of-breath Lisa della Casa complained to Eleanor Steber about the condutor's
tempi. Steber reportedly looked at her and said, "Maybe he wouldn't have taken
them if you had come to more rehearsals."

It's been a long day at the unniversity.
From: dern@acs.bu.edu (Kevin Dern)
Newsgroups: rec.music.classical
Subject: Dido and Aneas
Date: 28 Sep 92 01:32:27 GMT
Organization: Boston University, Boston, MA, USA
Originator: dern@acs.bu.edu


Hello...

I'm looking for a piano reduction of Dido and Aeneas (Purcell) without
realization of the figured bass... a second choice would be full score,
without editing. Does Urtext exist for Purcell? I'm looking for something
I can purchase - I know something similar exist in the Complete Works
of Purcell, but I want a copy for my library.

Thanks,     Kevin

            dern@acs.bu.edu
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: Why switch to CD?
Date: 5 Oct 1992 12:53:09 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <1992Oct5.084101.10082@bsu-ucs.uucp> 00hfstahlke@bsu-ucs.uucp writes:
>I think I'm one of the last non-CD owners.  And I'm finding that state a little
>frustrating but the thought of changing it not attractive enough outweigh the
>frustration.
...
>As I see it, there are two advantages:
>
>1.  CD sound quality is better than tape or LP.
>
>2.  An increasing number of good recordings will be available only on CD.

Here's one that I find very important: CD's last virtually forever - the
same cannot be said of LPs and cassettes. Also, it is far more difficult
to damage a CD than it is to scratch or melt an LP. Something else impor-
tant for me (it may not be for you) is that CDs are smaller and lighter
than LPs, which is important in limited living space or when you are moving.

>I find #1 probably true but largely irrelevant.  The difference in sound
>quality will show up best with high quality equipment.

Actually, I find that the difference in CD quality is *especially* notice-
able in less-than-audiophile gear. Those mystic audiophiles are able to
make their LPs approach or surpass CD quality, but only on extraordinarily
expensive turntables, speakers, and so on. Then again, the quality of CD
players has come light years since 1983 or so, so that the fidelity you
get out of a $200 player now will easily surpass that of a $1000 player
from just 5 years ago or so. At least this has been my experience. You'll
have to trust your own ears on this one.

Bill Alves
Newsgroups: rec.music.classical
Subject: Re: Temperments
From: phoogenboom@eagle.wesleyan.edu
Date: 26 Sep 92 17:05:59 EDT
Organization: Wesleyan University

In article <8453@orbit.cts.com>, jseboldt@pnet51.orb.mn.org (John Seboldt) writes:

>                                              If you tune a series
> of fifths (c to g, g to d, d to a, etc), you will NOT end up with
> another C, but a B-double-sharp, slightly sharper than C. 

This should read, "B-sharp."  B-double-sharp is MUCH sharper than C!

Peter Hoogenboom
phoogenb@ucs.indiana.edu
From: dtt@mitisft.Convergent.COM (Duc Tran)
Newsgroups: rec.music.classical
Subject: Schimmel
Keywords: none
Date: 30 Sep 92 21:52:08 GMT
Organization: Unisys Unix Systems Group, San Jose, CA

I would like to hear anyone who owns/knows a Schimmel piano (the CC 6'10 T.)
 
I play this type of piano before and am impress with the overall tone,
construction and finish of this model. 

There is a dealer here in Calif. offer this particular piano for around 20K,
and I like to know that in this range, are there any other better alternative
than Schimmel including the used/restored one?

What I like about this model is that it has a very consitent and nice firm
touch on the keyboad ( better than some of the famous leading brand) and a 
very good tone.

According to the Fine book, Schimmel has some trouble with the varied humidity
in USA, does it still exits?
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Mahler and all that Rott
Date: 29 Sep 92 14:50:43 GMT
	<1992Sep28.232232.11517@nuscc.nus.sg>
Organization: pubs
In-reply-to: smoliar@argon.iss.nus.sg's message of Mon, 28 Sep 1992 23:22:32 GMT

Stephen Smoliar writes:

   Bruckner certainly had some artistic and personal influence
   on Mahler and Krzyzanowski ...
                 ^^^^^^^^^^^^
Who's this?  Anyone interesting?  Thanks for typing in that text,
Stephen.

Chris Brewster
cb@cray.com
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Newsgroups: rec.music.classical
Subject: Re: Why LPs are superior to CDs (was Re: Why switch to CD?)
Date: 6 Oct 92 21:17:47 GMT
Organization: Colorado State University, Fort Collins, CO  80523

In article <1992Oct6.200556.28599@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>
>And what do CDs have? After struggling to open up that plastic thing
>which falls to the floor and cracks, you have to tear that silly little 
>booklet to shreds in order to extract it from the now broken plastic 
>case, where inside you find text the same type size as the compact 
>Oxford English Dictionary, so you can't read it. When you try to take 
>out the CD in order to play it, the center retainer is so tight that 
>you have to pull with all your strength to get the CD off, at which 
>point the CD snaps in two. Now it's out of the case, but to play it you 
>tape it back together, only to discover it won't play, and you don't
>even have a nice BIG picture to look at. So, you see, CDs are useless.


Personally, I treat my CDs with the care and respect they deserve.  I have
never broken a case, or snapped a CD in half by trying to yank it out of it's
box.  Oh, and when I do get a little scratch on it, I NEVER hear it.  


   Happy popping and crackling,



_______________________________________________________________________________

  Michael John Hurben             "I am lost to the world..." - Gustav Mahler
  Dept. of Physics
  Colorado State University     "See how I love to clean filthy catboxes!"
  hurben@lamar.colostate.edu                                       - Ren Hoek  

_______________________________________________________________________________
From: vnguyen@husc8.harvard.edu (Vinh Nguyen)
Newsgroups: rec.music.classical
Subject: Re: Which forza/carlos/ballo to buy?
Date: 30 Sep 92 01:59:59 GMT
Article-I.D.: husc3.1992Sep29.215959.15955
Reply-To: vnguyen@husc8.harvard.edu
Distribution: usa
Originator: vnguyen@husc8.harvard.edu

In article <1992Sep29.115834.21442@lloyd.Camex.COM>,
 chrisi@lloyd.Camex.COM (Chris Ischay) writes:
> In article <1a7m6uINN3uk@cauchy.usc.edu> splin@cauchy.usc.edu (Sen-Pin Lin)
> writes:
> 
>>	I am planning to purchase CDs for these three Verdi's operas. Can
>>anyone recommend a recording for each of them?
> 
> There is a Callas recording of Ballo taken from a performance around 1957
> or so, with Gavazzeni conducting and Giuseppe di Stefano at his best as
> Riccardo.  This is one of those sparks-flying kind of nights, and the
> second act is positively on fire.  The duet between Riccardo (King of
> Boston) and Amelia is thrilling.  The final portion of this act ("Ve' se di
> notte") is done with more twist in that little syncopated thing they do
> than I've ever heard, and it's just perfect to my ear.
> 
> The sound is more than respectable for the period and circumstances, quite
> decent.
 
This must be the "live recording" from Edinburg.  I would second the
praise for this one, for those who can bear with live recordings that
is.  The love dute in Act II has to be heard to be believed, and Callas
and di Stefano sang as if there would be no tomorrow.  The sound is
a bit opaque and muddy but still decent by "pirate" standards.

> There is a recording with Bjoerling and Milanov that is equally splendid,
> though the sound is much less good, though still listenable.  
 
Hmm, I thought that Bjoerling never recorded any Ricardo.  Is this one
another "live recording"?  

> I used to think that Ballo was very odd in its Boston setting, but I didn't
> know how good I had it until they confused me by going back to the
> "correct" setting.  What happened to Ulrica?  Who's this Horn guy?  And gee
> but it's too bad that Boston lost its king.  %^)
 
Well, too bad for Boston's claim to operatic fame.  (Now it goes without
an opera house -- while SF, Seatle, Dallas, Houston, and even Santa Fe
are bursting with operatic activities.

Vinh nguyen
`:wq
:wq


`:wq

> Chris Ischay
> chrisi@camex.com
Newsgroups: rec.music.classical
From: mujica@lascar.puc.cl (S. Mujica)
Subject: Re: Otello recordings
Organization: Pontificia Universidad Catolica de Chile
X-Newsreader: Tin 1.1 PL5
Date: Tue, 29 Sep 1992 00:46:34 GMT

Jon Conrad (conrad@brahms.udel.edu) wrote:
: In article <1992Sep24.181727.17107@sun1x.actc.res.utc.com> johnm@sun1x.actc.res.utc.com (John Montgomery) writes:
: 
: recording.  The cast is basically that of Solti's Paris Opera
: performances: Maggie Price, Carlo Cossutta, Gabriel Bacquier.  But with
: Vienna Philharmonic, and Vienna State Opera Chorus.  Quite good overall
: (and Cossutta's tenor is, in a way, the most "correct" Otello voice of
: recent times -- heroic and lyrical both), without being really
: memorable.  Price sounds extremely pretty, and Bacquier is really past

This is a nice recording, it is interesting to note that Cosuttas only
performance in a secondary role was in 1952 when he sang Casio at Colon
of Buenos Aires with Ramon Vinay doing Otello. BTW, what about Dragica
Martinis' Desdemona in the Furtwengler's live recording?

Sergio Mujica
mujica@lascar.puc.cl
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: Mahler and all that Rott
Date: Mon, 28 Sep 92 09:30:52 EDT

In <90612@netnews.upenn.edu> jimmosk@eniac.seas.upenn.edu (Jim J Moskowitz) writes:

>I'm in a bad state of shock, folks.
>Last night I tuned in to a local station and caught the last two movements of
>a symphony I'd never heard before.  It was clearly Mahler (at first), because
>the scherzo I'd tuned in on had all the effects, and another very-close-to
>variation of the same theme that many Mahler scherz(os/i) have.  Except I knew
>all of Mahler's symphonies (except the 8th, which I know is choral), and this
>wasn't any of them.  A brief jolting "They've discovered Mahler's 1-1/2th!"
>(because the music seemed to belong about there in his development -- I've been
>unable to specify why I thought this, so I should muse on it some more...)
>soon gave way to "Ah, it's some quasi-pastiche Neo-Romantic symphony (although 
>it's doing a damn good job, like Easley Blackwood did that great job writing
>his 5th symphony a la Sibelius)."  Then the 4th movement started and I got
>confused again, because it sounded all Arthur-Sullivanish, bombastically
>English with a 'final chord' that was stretched out to thirty bars of nonsense.
>Then came the real kicker.  
>The piece was Hans Rott's symphony in E (I believe...), written more than a
>decade _before_ Mahler's 1st, and, as the announcer stated, "clearly an
>influence on Mahler's composition".  
------------
I looked up Mr. Rott in Grove and here's a bit of what they say (which
isn't much, but interesting):
Born: Vienna, 1 Aug 1858; died: Vienna 25 June 1884 (at age 25).
Studied organ with Bruckner, composition et. al. with others.
"On 17 Sep 1880 he visited Brahms to seek his advice, but, like Wolf,
he was rebuffed; within a month he had become insane. His importance
as a composer lies in his influence on his close friend Mahler. In
particular, his Symphony in E (1878-1880) anticipates those of Mahler
in its thematic material and compositional techniques. Rott's many
other works include songs, several orchestral pieces, a string quartet
and quintet."

Insanity sure was rampant 100 years ago. Did Brahms have some sort of
mind-control over those who sought his approval? 
-- 
*-------------------------------------------------------------------------*
#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
From: tait@cs.columbia.edu (Carl Tait)
Subject: Re: Beethoven 32nd sonata
Organization: Columbia University Department of Computer Science
Date: Wed, 30 Sep 1992 10:18:53 GMT

In article <music.717822167@batman> 
music@moravian.edu (Steve Heller) writes:
>
>The point is not simply syncopation, which I think we all know goes
>back much farther than Beethoven, but the very special case of
>Beethoven's op.111: Adagietto: 4th variation, which is a remarkable
>example. There are many others, obviously, but the thread started with
>this piece and has evolved from that point.

Two other examples of early-nineteenth-century Scott Joplin:

Beethoven: Bagatelle in B minor, Op. 126/4: mm. 12-20
Schubert: Sonata in D, Op. 53 (D. 850): Second movement, m. 41 ff.

The Schubert is particularly startling: a couple of minutes into
the movement, you suddenly find yourself hearing Schubert's version
of Joplin's "Weeping Willow"!

Carl Tait
From: enute1@cc.swarthmore.edu.cmccon1 (Daniel Gottlieb)
Newsgroups: rec.music.classical
Subject: Mahler 1
Date: 30 Sep 92 18:50:43 GMT
Article-I.D.: cc.QH7QBXJN
Organization: Swarthmore College


	I realize that this may open myself up to a deluge of replies, but I would
like to hear about all the favorite recordings of Mahler 1 out there.  My
personal favorite is the most recent Bernstein D.G. with the Concertgebow,
but I've heard that the new Tenstett (spelling?) C.S.O. live recording on
Angel/E.M.I. is just incredible.  Any advice?
From: paul@cgh.cgh.com (Paul Homchick)
Newsgroups: rec.music.classical
Subject: Re: suggested pieces for cello & piano?
Date: 27 Sep 92 16:54:55 GMT
Distribution: usa
Organization: Chimitt Gilman Homchick, Inc.

Regarding cello and piano, I didn't notice anyone else suggesting the
Elegie by Faure, this is well worth a listen.  It is to the cello and
piano, what Barber's Adagio for Strings is to the string quartet.  The
recording by Paul Tortelier on Erato is quite good.
-- 
Paul Homchick                    :UUCP     {rutgers | uunet} !cbmvax!cgh!paul
Chimitt Gilman Homchick, Inc.    :Internet                       paul@cgh.com
1111 West DeKalb Pike, Suite 101 :MCI                               PHOMCHICK
Wayne, PA  19087-2179            :GEnie                              HOMCHICK
From: pj@linz.ensmp.fr (Pierre JOUVELOT <jouvelot@cri.ensmp.fr>)
Newsgroups: rec.music.classical
Subject: Schmidt, Tchaikovsky, Scriabine (was Re: Obscure but good)
Date: 29 Sep 92 08:57:41 GMT
Organization: Ecole des Mines de Paris, France


Franz Schmidt, symphony #4.  Written after the death of his daughter;
sad mood with a tonal post-mahlerian touch. This is a quite moving
music.  Also, try his opera "Notre-Dame", with its somewhat famous
intermezzo.

Piotr Tchaikovsky, orchestral suites 1-4. Not really obscure, but
apparently underestimated.  The trio of scherzo in the #3 suite is quite
impressive.

Scriabine, symphony #1.  A blend of Wagner and Liszt. The introduction
is quite nice: thin, ethereal feel.

Pierre
-- 
Pierre Jouvelot		 			E-mail: jouvelot@cri.ensmp.fr
Centre de Recherche en Informatique		TPH: +33 (1) 64.69.48.36
Ecole Nationale Supe'rieure des Mines de Paris
Organization: Stanford Linear Accelerator Center
Date: Thursday, 1 Oct 1992 00:53:50 PST
From: Youngjoon Kwon     (415)926-2761 <YKWON@SLACVM.SLAC.STANFORD.EDU>
Newsgroups: rec.music.classical
Subject: Re: Orchestras/conductors -- corrections

To my best knowledge,
Maazel is in Pitsburg symphony and Christoph von Dohnany (sp?) is in charge
of Cleveland Orchestra.
Giulini is no longer with LA Phil.  Previn used to be a music director
of LA Phil after Giulini but I don't know who the current director is.
Vienna Phil doesn't have any music director in the organization, I think.

Please correct me if I am worng in anything I mentioned.
Thank you.

-Youngjoon
________________________________________
What I said is nothing to do with Stanford, SLAC nor DOE.
Newsgroups: rec.music.classical
From: dgottli1@cc.swarthmore.edu (Daniel Gottlieb)
Subject: Re: BEST Mendelssohn flat E major Octet ?
Organization: Swarthmore College
Date: Fri, 2 Oct 1992 15:35:04 GMT

In article <1992Oct1.140430.27590@debbie.cc.nctu.edu.tw>,
cp78047@csie.nctu.edu.tw () writes:
> 
> Please tell me what is the BEst Buy CD for The Masterpiece:
> Mendelssohn : STring Octet in E flat Major.?
>  THanks.               Jack Chou      University of Chou Ton ,Taiwan.

I'm not an expert, but the Phillips version with the St. Martin Chamber
Ensemble is nice.  Also, there is a C.B.S./Sony that I heard on tape live
from Marlboro - a little weak on intonation in parts, but still okay. I'm
not sure if that's been issued on C.D. I once heard a rumor about a
recording w/ Tokyo and Cleveland quartets. Anybody else know about that?

Dan
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Otello recordings
Organization: University of Delaware
Date: Mon, 28 Sep 1992 13:34:37 GMT

In article <1992Sep24.181727.17107@sun1x.actc.res.utc.com> johnm@sun1x.actc.res.utc.com (John Montgomery) writes:

>I recall there was an earlier Solti recording (late 70's?) 

Yes.

>with
>Margaret Price as Desdemona, which may be of interest.  I don't
>know if it's on CD yet.  Has anyone (Mr. Conrad?) heard this one?

I have it.  It was released simultaneously with the Levine/Domingo
recording.  The cast is basically that of Solti's Paris Opera
performances: Maggie Price, Carlo Cossutta, Gabriel Bacquier.  But with
Vienna Philharmonic, and Vienna State Opera Chorus.  Quite good overall
(and Cossutta's tenor is, in a way, the most "correct" Otello voice of
recent times -- heroic and lyrical both), without being really
memorable.  Price sounds extremely pretty, and Bacquier is really past
his Iago-capable days though he's enough of a showman to fake it
surprisingly well.  It doesn't all quite add up, though.

It's not on CD, and inasmuch as it didn't make it there before Solti
rerecorded it, it may be a loooong wait.

Jon Alan Conrad
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Newsgroups: rec.music.classical
Subject: Re: Mahler 1
Date: 30 Sep 92 22:21:44 GMT
Organization: Colorado State University, Fort Collins, CO  80523

The most hair-raising Mahler's 1st I ever heard was a live performance I
attended with David Zinmann (sorry if I misspelled that) conducting the
Utah Symphony.  I don't think he has his reading out on disc yet, but if
and when he does I know I'm getting it -  For now, I most enthusiastically
recommend Bernard Haitink, on Phillips.  Actually, he has 2 recordings on
this label of the 1st - I have the older, ADD version, which is wonderful.
The new DDD must be exquisite!  I also have an old Solti which I really
don't like, and one of Ozawa's, which is a tad bit better, but also has
"Blumine" on it, which no Mahlerphile should be without.
From: rbrooks1@cc.swarthmore.edu (Rob Brooks)
Subject: Zander/Beethoven 9
Organization: Swarthmore College
Date: Sun, 4 Oct 1992 18:19:26 GMT

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 :)

Rob
rbrooks1@cc.swarthmore.edu
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Music for Ectoplasmodium
Date: 28 Sep 92 16:15:18 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Sep23.232049.10788@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:
>Recent mention of Cyril Scott caused me to wonder about
>musicians who were interested in the occult.  Scott, for
>example, was either a Blavatskyite or a member of the Order
>of the Golden Dawn.  Who else?

Scriabin.  Check out the radical differences between the first
half of his sonatas and the second half, BTW.

(Tis is a repost, as one got away from me with "sonata" instead
of "sonatas" -- no, I didn't mean "sonata" in the singular!)


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
From: lemke@larry.sal.wisc.edu (John Lemke)
Newsgroups: rec.music.classical
Subject: Re: A Brief Review
Summary: agreed
Date: 28 Sep 92 21:22:00 GMT
Followup-To: lemke@larry.sal.wisc.edu
Organization: Space Astronomy Lab, Madison, WI

I heard this a few years back on our local station.  When the piece was
done, the local announcer said, "It's kind of like the dog who could play
chess -- it's not that you tought he did it well, you're just astounded
he could do it."  A real waste of vinyl, radio bandwidth, and listeners'
time.

 -- John Lemke
Newsgroups: rec.music.classical