HDTenEightyP/NetNews huggingface dataset:
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: John Cage is Dead
Date: 16 Aug 92 18:41:29 GMT
Organization: Digital Systems Co., Atlanta GA

I hope to give some decent detail on this for those of
you who either knew John or admired his life and work from a
distance.

John died of a stroke, Wednesday, August 12, some time in the
afternoon at St. Vincent's Hospital (Manhatten), the best I
know second-hand is that it was around 2:30pm.

On Tuesday, one of John's assistants was with him until 5:30pm,
at which time he was fine, and working.  When Merce Cunningham
arrived about 6:30pm, John was unconscious.  He had apparantly
accomplished some work during the interval, and prepared two
glasses of iced tea in anticipation of Cunningham's arrival.

I will not go into the various medical aspects of the following
20 hours at St. Vincent, as my notes are not adequate, but will
say that he died while being prepared for testing to determine if
life support should be continued.

(Some of say that that was just like John...he didn't want to be a
bother to anyone, and so probably went and died then so no one would
have to make that kind of decision.)

If it has not already been done as of this writing, his body is to
be cremated.

I suspect that if people want to send gifts in honor of his memory
that, in lieu of flowers, his wish would have been contributions
to either the Cunningham Dance Foundation or to the Musician's
Emergency Fund.  I don't know which, but I expect to call his
management Monday to find out.  I will post the information.

It has been about exactly a year since I had last seen John,
when I interviewed him at his apartment.  He was healthy and
cheerful (and gracious as always) but looked a great deal more
frail than when I had last seen him.

I will not try to explain personal experience of John over the large
quantity of myth and misconception regarding him, his ideas, and
his music.  I say this for those of you who have met him and
know the difference:  He will be missed.  Blessed be John and
all such hearts of gentleness and grace.


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: Telefunken records
Organization: Camosun College
Date: Sat, 22 Aug 1992 00:26:34 GMT

In article <1992Aug20.182739.11770@Princeton.EDU>, mikulska@crux.Princeton.EDU (Margaret Mikulska) writes:
[....]
> Telefunken CDs are sold, at least in this country, under the name
> Teldec.  As I understand, it stands for Telefunken/Decca, but I'm not
> sure what is the ownership status of the company nowadays.  In any case,
> many LPs from `60-`70 (at that time still from Telefunken) were
> re-issued on CDs by Teldec, but all too many were deleted from the
> catalog very soon.  Also, the availability of their recordings here may
> differ from that in Europe.
> 
> For quite a few years, Teldec had no luck with distributors in the U.S.
> They were picked up and dropped by several distributors, for some
> strange reasons.  I forget with whom they are now, but the dust seems to
> have settled.

The August 1992 gramophone has a listing in its North American section
of labels and their North American distibutors. There is *no* entry for
Teldec. However if, as I suspect, the Decca collection means they are
now owned by Polygram, that would explain the lack of an entry.
-- 
===============================================================
|Deryk Barker Computer Science Dept.  | Without music life    |
|Camosun College, Victoria, BC	      | would be a mistake    |
|Canada 			      | (Friedrich Nietsche). |
===============================================================
From: nkb@cunixa.cc.columbia.edu (Norman K Bucknor)
Newsgroups: rec.music.classical
Subject: Re: Die Meistersinger
Date: 18 Aug 92 00:00:40 GMT
Reply-To: nkb@cunixa.cc.columbia.edu (Norman K Bucknor)
Organization: Columbia University


In article <BszpGL.Cn@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>Having bored the pants off everyone with my MEISTERSINGER discography, I

Far from it! It was very informative. Keep it coming [satisfied? :)].

>must nevertheless add something more:  EMI is planning another new
>recording (its fourth!) to be recorded early in 1993.  The elements I
>have heard so far sound promising.
>
>Conductor:  Wolfgang Sawallisch
>Eva:  Cheryl Studer
>Beckmesser:  Dietrich Fischer-Dieskau  (yess!!!)
>
>Anyone for speculating about the other roles?  (Or has anybody actually
>heard anything definite?)  I can't refrain from some ideas:
>
>Sachs:  Jose van Dam?  James Morris?  Robert Hale?  Bernd Weikl, God
>  forbid? (or will Sawallisch go with his [boring] standby, Alfred Muff?)
>Walther:  yikes.  Well, who?  Richard Leech?  Paul Frey?  It's too high
>  for Siegfried Jerusalem et al.

Hasn't Jerusalem sung this on stage though? Oh, you mean an *ideal* 
interpreter! I think I saw a laserdisc of Die Meistersinger with him in 
that role.

>Pogner:  Gwynne Howell?  Robert Lloyd?  Kurt Moll again?
>David:  Here's where we need the stature of a Francisco Araiza, or
					       ^^^^^^^^^^^^^^^^
Except he fancies himself a heldentenor. I believe he'll be singing Walther in
the Met production come January (unless I hallucinated the Met schedule). He
was on Stephan Zucker's "Opera Fanatic" radio show a year or two ago and they
had this long discussion about changing vocal "fach"s and how he felt his 
voice was getting darker. A sample of his heldentenor singing was played
(live recording of Lohengrin's "In fernem land") and he did not sound half-bad.
Somewhat like Georges Thill without the ringing high notes.

>  John Aler, or Anthony Rolfe Johnson, or Gosta Winbergh
>Magdalene:  Hanna Schwarz?
>Kothner:  EMI has a contract to use Thomas Hampson in everything
>  imaginable; well, here's the role for him.
>
>I know, dream on....
>
>Jon Alan Conrad

Norman Bucknor
Xref: sparky rec.music.classical:11105 ne.general:2279 ne.wanted:1104
From: dpotts@sw.stratus.com (David Potts)
Newsgroups: rec.music.classical,ne.general,ne.wanted
Subject: Singers wanted
Date: 12 Aug 92 14:44:32 GMT
Followup-To: rec.music.classical
Organization: Stratus Computer, Inc.


The Master Singers of Worcester (Mass) is seeking new members in all
voice parts for the upcoming concert season.

The Master Singers of Worcester, now entering its 17th season, is a
group of dedicated musicians who contribute their time and talent to the
performance of superb choral music.  The membership includes people of
all ages and backgrounds, who all have something in common:  a love of
music and the desire to share that music with others.

The upcoming season will feature a variety of great works by Mozart,
Bach, and Gilbert & Sullivan.  There will also be solo opportunities
throughout the season for those who are interested.

The group rehearses on Tuesday nights from 7:15 to 10:00 at Epworth
Methodist Church, 64 Salisbury Street, Worcester (on the corner of
Lancaster and Salisbury Streets, across the street from Trinity Lutheran
Church and the Worcester Art Museum).  If you would like to know more
about the Master Singers, please respond via e-mail, or call (508)
874-5830.

Auditions will be held on Wednesday, September 2, 1992 at 7:30 PM at
Epworth Methodist Church; please arrive at 7:00 for registration.  We
hope to see you there!

Keywords:
Organization: University of Maryland at Baltimore
Date: Saturday, 22 Aug 1992 18:53:11 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject: Re: Music of John Adams

RE the recording of John Adams's _El Dorado_ -- don't worry; I'm
sure it'll be released sometime in this year or early '93.  His
music gets released _very_ quickly, presumably because lots of
people _want_ it.

And I like his music, too.

Bob
Newsgroups: rec.music.classical
From: gal@bnr.ca (Gene Lavergne)
Subject: Re: Glass' music performances
Keywords: Glass
Organization: Bell-Northern Research, Richardson, Tx.
Date: Fri, 21 Aug 1992 18:51:42 GMT

In article <1992Aug21.100300.6043@cs.ruu.nl> clldomps@cs.ruu.nl (Louis) writes:
>Can anyone tell me about performances of new
>Philip Glass material, especially in Europe?
>I'm interested in any of his non-recorded
>operas and his orchestral music, like The Light,
>and others.

I believe a Robert-Wilson-completely-restaged version of Einstein
is going on in either Studtgart (sp?) or Frankfurt (sp?).  A friend
of mine saw the performance night-before-last and left me a voice
mail message about it.

He said, when it began, Glass sat a keyboard, placed a finger on one
key, pressed it, and held it there for five minutes.  He then changed
notes and did the same for another five minutes.  It livened up a bit 
after that.  It lasted about 4.5 hours and people came and went 
throughout.  He said it was very warmly received.  

>Also does anyone know if one of these (or perhaps
>more) are to be recorded in the near future?

"The Voyage" at the Met in NYC.  It may be broadcast in a special
early broadcast for the season on the radio.  I am sure someone will
be taping if it is.  If it is a hit like "Ghosts of Versailles", it
could find itself on TV, as well.

>(I heard there already have been radio broadcasts
>of some of his orchestral music).

I have part of the second-to-last and all of the last movements(?)
of the Rome section of The Civil WarS.  I was alerted that it was
on the radio and taped.  I believe I also have some kind of cello
concerto taken from the radio.

>Louis,
>who missed Glass' performance of Koyaanisqatsi
>and Powaqqatsi when it was just 15 minutes walking
>away from his front door :-(

Powaqqatsi is being done live in Dallas in the near future.  I am
working on getting tickets to that.

Cheers,
Gene Lavergne

| gal@bnr.ca (Gene A. Lavergne) | In all of opera, I most identify |
| ESN 444-4842 / (214) 684-4842 | with the character of Elektra.   |
| PO Box 851986, Richardson, TX | That often worries me.           |
| USA 75085-1986 | Opinions expressed here are mine and not BNR's. |
From: neill5@mamut.wlu.ca (neill kernohan 9207 A)
Subject: Help in getting music
Organization: University of Waterloo
Date: Sun, 16 Aug 1992 21:07:50 GMT
X-Mailer: ELM [version 2.2 PL13]

I need some help.

I need two pieces for my community choir here in Cambridge, Ontario, which
are only available in Britain.  I know this might be an imposition, but the
cost of getting these pieces quickly is astronomical, and otherwise I'd have
to wait for months.

I need someone who is either going to Britain or is already there.  I would
be willing to pay for any trouble, the music, postage, everything.  Anyone
willing to help out a needy choir director?
-- 
It's not the thing you fling, it's the flinging itself.

Neill Kernohan
neill5@mach4.wlu.ca
From: dgold@basso.actrix.gen.nz (Dale Gold)
Newsgroups: rec.music.classical
Subject: Re: Stephen {Bishop}{-}{Kovacevich}
Date: 21 Aug 92 19:42:52 GMT
 <1992Aug18.154202.1@gsbacd.uchicago.edu><Bt8EFC.8I5@news.udel.edu> <CB.92Aug19113434@tamarack13.timbuk>
Organization: New Zealand Symphony Orchestra

Quoted from <CB.92Aug19113434@tamarack13.timbuk> by cb@tamarack13.timbuk (Chris Brewster):
> Jon Conrad writes:
>    Or maybe he just wants to set people talking
>    and thinking about him, to keep his career active.
> 
> Implying that his career is on the skids?  He does seem to be much less
> visible than he was a while back.  Did people lose interest in him?  

He seems to be very busy, although didn't do much recording for a few
years.  When I talked to him about a year ago he had several recording
projects in the works.  I think he might be less visible because he's been
very interested in conducting for the last few years, and has been working
a bit more off the beaten track to gain experience, etc.

Dale
--
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: When is close close enough for just intonation
Keywords: intonation, intervals
Date: 13 Aug 92 02:18:26 GMT
Organization: Harvard Math Department

In article <1992Aug12.232903.19191@newshost.unh.edu>
dvf@kepler.unh.edu (David V Feldman) writes:
>[...]  It would be interesting to do an experiment
>to see whether the ear would accept unjust intervals as just because
>the anharmonic partials were tuned justly.

In some sense you perform such an experiment each time you play
a piano (assuming it is "in tune"), since the octaves are tuned
sharp to compensate for the anharmonic octave overtone.  But
that's just one kind of data point, and confused by things like
the not-quite-unison tuning of the 3-string courses; it would be
interesting to see further experiments.

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
From: bamn@venus.ycc.yale.edu
Subject: Re: Lux aeterna
Organization: Yale Computer Center (YCC)
Date: 17 Aug 92 17:41:24 EDT

In article <aw7iPB4w165w@bluemoon.rn.com>, papageno@bluemoon.rn.com (Andrew Armstrong) writes:
>  Has anyone else noticed that the Lux aeterna from Mozart's Requiem seems
> to repeat musical themes from earlier in the piece?  Every time I hear
> the Lux aeterna I think I pick up parts from possibly Confutatis or 
> Lacrimosa.  Is it just me, or has anyone else also thought this?
> 
> Der Vogelfaenger bin ich ja!
> 
hey hey, 
Lux aeterna has been copied from the Kyrie and not (definitely not)
Confutatis or Lacrimosa
naren
Newsgroups: rec.music.classical
From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Subject: Prokofiev 5th with Ozawa on DG - a review
Organization: University of Rochester (Rochester, NY)
Date: Wed, 19 Aug 92 00:09:45 GMT

Deutsche Grammophon, Seiji Ozawa and the Berlin Philharmonic are in
the middle of their projected cycle of Prokofiev's complete symphonies. 
The first release (435 027), which coupled the Second and Seventh
Symphonies, was distinctly successful.  The present CD (435 029),
which couples the famous Fifth with the symphonic suite from
"Lieutenant Kije," is less clearly a winner, but it still has many
attractive points. 

After some massive Fifths in the recent past (above all, Levi's on
Telarc), it is somewhat of a relief to hear Ozawa's, even if it doesn't
give the whole picture.  Ozawa's approach is more balletic and flexible
than usual; the music constantly seems to be looking back to
Tchaikovsky.  The lack of weight is damaging to those who want to hear
this music as a cryptically pro-humanist and anti-Communist
statement (in the vein of Shostakovich's Fifth Symphony, for example),
but Ozawa's passion is more one of the loving heart than of the human
spirit. 

Having said that, the 2nd and 4th movements badly lack pungency
(although they don't necessarily lack excitement), and the 3rd
movement goes by so quickly (hardly an Adagio here) that it sounds
perfunctory.  The playing of the Berlin Philharmonic, the brass in
particular, has a compensatory lustre, however.  I'd put this in the top
third of Prokofiev Fifths. 

"Lieutenant Kije" receives a less controversial performance because
the music's intentions are more straightforward, but Ozawa still
chooses to emphasize the score's delicacy.  Having baritone Andreas
Schmidt on hand to sing the solos in the 2nd and 3rd movements is an
asset, even if he doesn't sound completely comfortable with the
language - I wish more conductors would perform the music this way. 

DG's recording is good, but orchestral soloists are spotlit in a way that
American recording engineers were criticized for by European music
critics in the 70's.  





--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).
From: garretso@oac.hsc.uth.tmc.edu (Leon T. Garretson)
Newsgroups: rec.music.classical
Subject: Re: Leroy Anderson's good kitsch - CD review
Date: 17 Aug 1992 15:07:37 GMT
Organization: UT Health Science Center Houston

In article <1992Aug17.011012.10541@galileo.cc.rochester.edu> rtut@troi.cc.rochester.edu (Raymond Tuttle) writes:
>There have been some good collections of his music over the years
>(Fiedler, Abravanel and Kunzel come to mind), but my favorites are with
>
	Quibble.... the title is actually "A Trumpeter's Lullaby". As a 
	high schooler I actually played this and the trumpet trio piece
	under the direction of el maestro (he lived in the neighborhood).
	Quite a nice fellow if extremely shy.
	Didn't know he has a fan club, but I agree he knew something about
	the American aesthetic that was unique. For some reason I think
	the Japanese would love him too. Wonder why. Cleverness I suppose.

Leon
From: egras@ohstpy.mps.ohio-state.edu
Newsgroups: rec.music.classical
Subject: Re: Wanted: A crash course in composer's styles
Date: 14 Aug 92 16:35:37 EDT


>>>more often than in other pieces?  I mean, when you hear a classical
>>>piece and say 'that sounds like Brahms', what is it about the piece
>>>that tips you off that Brahms wrote it (if you didn't already know)?


	While we're on the subject, can anyone edify me as to what the 
the technical differences are between the music of different periods?
It is usually obvious to one's ear as to whether a piece is classical or
romantic, but what are the technical differences.  I'm not talking about
forms.  I'm more interested in say listening to a section of a piece and
saying "That is definitely romantic."

BrianE
Newsgroups: rec.music.classical
From: cyeomans@ms.uky.edu (Charles Yeomans)
Subject: Re: Wedding music suggestions?
Date: Mon, 17 Aug 1992 18:43:02 GMT
Organization: University Of Kentucky, Dept. of Math Sciences

In article <1992Aug15.173924.19765@usenet.ins.cwru.edu> ac220@cleveland.Freenet.Edu (Rich Szabo) writes:
>
>Anyone have some suggestions for good wedding ceremony music?
>I would like to solicit your ideas.  The ceremony is a Catholic
>mass and I am slated to appear as the groom.  Please post
>suggestions here or e-mail to ac220@cleveland.freenet.edu.
>Thanks!
>Rich Szabo 
>-- 

How about the middle section of the fifth movement of 
Berloz' "Symphonie Fantastique"?  It even uses a Catholic theme.

Charles Yeomans
cyeomans@ms.uky.edu
yeomans@austin.onu.edu

Newsgroups: rec.music.classical
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: A quick guide to different musical periods...
Originator: news@nimaster
Organization: Princeton University
Date: Thu, 20 Aug 1992 03:20:15 GMT

In article <JWA.92Aug20012124@vipunen.hut.fi> jwa@vipunen.hut.fi (Jyrki J Wahlstedt) writes:
>In article <CB.92Aug18130216@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

>   William Sadler writes:
>      The problem I had was when they played Mahler's Organ Symphony.


>   Please identify this work further.  The Eighth?

>  Yes, I wondered the same thing myself and came to the same conclusion.
>  I can't remember that Mahler would have used organ in any other symphony.
>  Just that the nickname is not Organ Symphony, but "Symphonie der
>  Tausend" (Symphony of a Thousand) (that you probably know).

There's an organ in the last mvt of the 2nd.

Roger
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: JOHN CAGE
Date: 21 Aug 92 23:33:14 GMT
Organization: Princeton University
Originator: news@nimaster

In article <BtCt61.BA8@quake.sylmar.ca.us> brian@quake.sylmar.ca.us (Brian K. Yoder) writes:
>In article <c1JuPB3w164w@sys6626.bison.mb.ca> kevin@sys6626.bison.mb.ca (Kevin Scott) writes:

>>Music and philosophy are a bad mix.

>Interesting...that's a philosophical statement itself!  Do you really think
>that aesthetics is a worthless branch of philosophy?

Do you really think at all, Brian?  

Or do you just spew?  

The sentence you sneer at has been taken out of context, of course;
Kevin doesn't like music that itself embodies or attempts to advance
some philosophy, as you damn well know, or would if you bothered to read
instead of just kneejerking.

>If nothing else, a study of philosophy as it relates to art will explain
>why it is that people have such radically different ideas of what art is
>and what the difference between good art and bad art are.  

"If nothing else" is wrong; most studies will *not* show that.  At best
they will point up the contexts in which "good art" and "Bad art" can
even have meaning.

>Do you see no value even in that?

Not the way you do it.  And we've had a goodly sample.

Roger
Newsgroups: rec.music.classical
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: John Cage is Dead
Organization: The Communications Research Centre
Date: Wed, 12 Aug 92 22:53:14 GMT

Long live John Cage.

-- 
==========================================================================
Ted Grusec    Communications Research Centre    (Govt. of Canada, DOC)
 3701 Carling Ave., Ottawa, Ont.K2H 8S2, CANADA  Internet: ted@dgbt.doc.ca
  Compuserve: 73607,1576  (613) 998 2762   Fax (613) 993 8657
Organization: University of Maryland at Baltimore
Date: Saturday, 22 Aug 1992 06:57:34 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject: Re: Mozart Piano Sonatas: Recordings?

In regard to requests for Uchida's Mozart Sonatas -- I don't have
them, but I heard the K. 576 in D Major on the radio one day, was
enraptured (and it's not my favorite of those sonatas, by the way:
I have some strange prejudice against several of Mozart's D Major
works, those of the pompous, "Coronation" concerto -- but therapy
is providing a lot of insight into the problem), and lo and behold,
it was Uchida.  I'd say it's a good bet.  I have her Mozart Concertos
(and Bilson's), and I find them very lovely indeed.

Bob