HDTenEightyP/NetNews huggingface dataset:
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Kalkbrenner
Organization: Camosun College, Victoria B.C, Canada
Date: Tue, 13 Oct 1992 22:45:45 GMT

In article <1992Oct13.160027.14301@sarah.albany.edu> pawel@tethys.ph.albany.edu writes:
>
>  Yesterday I heard on the radio one part of piano concerto by
>French composer Kalkbrenner.  He was Beethoven's contemporary and music 
>was quite nice - kind of "easy LvB" style.
>
>  I checked Schwann catalog and to my surprise didn't find any
>entries of Kalkbrenner's music.  Does anybody know about CD's with
>Kalkbrenner's piano concertos ?  Did anybody hear more of his music ?

Your Schwann appears to be {out of date. Vol I of VOX's 'The Romantic
Piano Concerto' contains Kalkbrenner's Concerto No.1 in D minor,
Op.61, played by Hans Kann, with the hamburg SO under Heribert
Beissel. VOX CDX5064. The box also contains works by VonHenselt
(actually my favourite), Chopin (an orchestration of the Allegro de
Concert), Hiller and Hummel.

BTW Kalkbrenner (1785-1849) was born in Germany of German parents. He
spent the last 26 years of his life in France, but does that make him
a French composer?

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Self-publishing (was Re: music scores cost a fortune!!!)
Date: 8 Oct 92 15:09:00 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Oct6.013139.19135@credence.com> jeffw@or.credence.com (Jeff Winslow) writes:
}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? :-))

I happen to be in that business part-time.
My work includes not only engraving, but editing and typographical
standardization, and through finished printing if necessary.
Yes, there are students who are cheaper, as are engraving
companies in Korea...but you get what you pay for.
You can spend too much of your time red-lining some people's engraving
work in your effort to get rock-bottom prices.  And if someone
wants to do that...fine.  I think, though, that people wanting to
avoid that kind of hassle would be more interested in my
services.  I engrave with SCORE (as does E.C. Schirmer, G.
Schirmer, C.F. Peters, Schott and (when they learn how) Boosey &
Hawkes).

Inquiries via e-mail are invited.  (But PLEASE, no questions about
"I engrave at school using Finale, how much should I charge other
people to do it for them?"  because I can't answer that question
for you.)


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
From: vnguyen@husc8.harvard.edu (Vinh Nguyen)
Newsgroups: rec.music.classical
Subject: Re: The Voyage
Date: 13 Oct 92 08:26:15 GMT
Article-I.D.: husc3.1992Oct13.042615.16322
Reply-To: vnguyen@husc8.harvard.edu
Originator: vnguyen@husc8.harvard.edu

In article <1992Oct13.015643.27093@dartvax.dartmouth.edu>,
 Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:

> The voyage will be performed on Columbus Day (fittingly enough) I can't
> wait for more Glass!!! Columbus set with spaceships and Aliens!!! Who
> needs the Ring or Otello and Falstaff when you can have Einstein on the
> beach. Who needs Aida when you can have Aknaten (sp)? Who needs John
> Williams when you can have Glass' mindnumbingly derivative and second
> rate movie score? I can't wait to buy more recordings of the man who
> was voted most boring composer in a poll of concertgoers!
> No offense but I just can't stand ole' phill glass

I would second this opinion, as I have once voted Akhnaten to be
the most deadly boring opera ever written, and the one single
opera I'd like to see dropped into oblivion.

I've just listened to the Voyage broadcast (and lunatic that I
am, I taped it and gave it a second listening, just to be "fair").
In any case, this new work does little to alter my opinion of
Glass, even though I would give a grudging nod to The Voyage as
slightly better than Akhnaten, but then that's no real achievement.
He does lighten up a bit with his minimalism (though not much),
and does manage to write some passable vocal lines, but the
orchestral accompaniment, especially that orchestral interlude
toward the end of Act I, is yet another example of Glass at his
mind-numbing "best"!

Vinh Nguyen
Newsgroups: rec.music.classical
From: slothrop@cheshire.oxy.edu (Roger Lebow)
Subject: Re: Bach Cello Suites on Period Instrument: Rec. Wanted
Organization: Occidental College, Los Angeles, CA 90041 USA.
Date: Fri, 9 Oct 1992 08:49:53 GMT

The first recording on an "authentic" Baroque cello was Nicolaus Harnoncourt's
back in the '60s. Suffice to say he has since stuck to conducting...  ;-)

Anner Bylsma's complete recording, dating from the late '70s, benefits from
Bylsma's comprehensive chops and wayward, manneristic approach to the music
(no two performances by AB are the same).

I've heard good things about this guy Christophe Coin (sp?...it's late here),
but haven't heard him, and don't see anything in the Schwann.

And for the record, I'd much rather listen to the old Casals recording for
their spontaneous, fresh playing and warm, open tone. Don't forget that he
was playing on an instrument fitted out with all gut strings! 8^)

Of the "modern" performances I most like Paul Tortelier's, BTW (though you
didn't ask).   

Roger

Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Brendel's Beethoven on Vox Box CDs
In-reply-to: roger@crux.Princeton.EDU's message of Fri, 9 Oct 1992 15:20:18 GMT
Organization: pubs
	<1992Oct9.152018.8146@Princeton.EDU>
Date: 9 Oct 92 11:57:57 CDT

Bryan Higgins:
   >Can anyone tell me when the ultra-cheap (each "Vox Box" volume is 
   >two discs for $8 at Tower Classics in Berkeley) Brendel recordings 
   >of the Beethoven piano sonatas on Vox were recorded?

Roger Lustig:
   Around 1960, I think.  I find them useful mainly for comparison, 
   though some ofthe performances are very good.  Also, you get the 
   *complete* Beethoven piano music, which is a lot.

I have trouble understanding how recordings are "useful mainly for
comparison".  Comparing what with what?  For such a highly reputed
series (which I haven't heard), I can't quite figure out this comment.

Chris Brewster
cb@cray.com

Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: Brahms 3rd Symphony
Date: 11 Oct 92 07:43:21 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

> Jon Conrad writes:
>
> Msg-ID: <BvxHK6.2xM@news.udel.edu>
> Posted: Sat, 10 Oct 1992 23:07:1
>
> Org.  : University of Delaware
>
> >   I'm looking for a good recording of Brahms 3rd and would appreciate
> >   your recommendations.
>
> One I haven't seen mentioned, that is my definite favorite of all Brahms
> 3rds I know, is Claudio Abbado's FIRST recording of it for DG.  This was
> part of a complete set of 4 Brahms symphonies he did for DG, each with a
> different orchestra.  I don't think the whole box was released in the US
> (though it may have slipped in through record clubs and the like), but
> the 3rd was eventually issued on the Privilege mid-price line.  It's
> with the Dresden State Orchestra, and does justice to both the
> classicism and romanticism of the piece.  Beautiful balancing and
> coloring.  I don't think it's made it to CD, unless it got onto a
> Galleria.  But it's some of my favorite Brahms.
>
> Jon Alan Conrad


I also remember these Brahms symphonies. One of their virtues was they took
the first movement repeats (at least the 1st and 2nd did). One disappointing
thing about the 1st was when the trombones come in, in the last movement,
they sounded VERY distant. I also think some of these have been reissued on a
cheapo DGG label. I wish they would all be reissued, preferably in a box --
my tapes of the first two have deteriorated something fierce!

Newsgroups: rec.music.classical,soc.culture.german
From: aluffi@cauchy.math.fsu.edu (Paolo Aluffi)
Subject: Re: Deutsche Staatsoper Berlin
Summary: How to get to Bayreuth?
Organization: Math Dept., Florida State University
Date: Tue, 13 Oct 92 18:35:48 GMT

Speaking of opera houses in Europe: the myth is that attending any performance
at the Wagner's festival in Bayreuth is basically impossible, that they are
booked out for the rest of this millenium and a good part of the next.
Is this true? How does one go about actually getting a ticket? --Paolo Aluffi
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Richard III
Date: 8 Oct 92 01:29:00 GMT
Organization: California Institute of Technology
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41


 I checked at lunchtime - Sir William was indeed the composer.
vol. IV of the Chandos series has the music for Richard III, King Lear 
and Major Barabara

 Neill Reid
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Tennstedt
Date: 10 Oct 92 11:27:29 GMT
Distribution: rec.music.classical
Organization: St. Andrews University, Scotland.

Someone asked recently why people thought Klaus Tennstedt was so good, i'm afraid i can't remember who. Well i've heard him a number of times now and his
PERFORmances have never been less than good and frequently electrifying! I'll
always remember a performance of Mahler 6 that was completely chilling!
I heard him conduct Beethoven 9 a couple of days ago. very fine indeed. In fact
he got a standing ovation at the end, which is quite a rare event in the 
Royal Festival Hall!
Gavin Ramsay
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Alkan trivia
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Thu, 8 Oct 1992 01:44:46 GMT

In article <music.717477274@batman>, music@moravian.edu (Steve Heller) writes:
>In <92269.123957RHASKINS@UMAB.BITNET> RHASKINS@UMAB.BITNET (Robert Haskins) writes:
>>What is a bookcase falling on you?
>Instructions: stand in front of a non-bolted (or otherwise secured)

For those who may find this enigmatic, the story of Alkan's death is that
he was supposedly crushed by a falling bookself or bookcase while reaching
for a volume of the Talmud.

A recent article (maybe 2 years ago or so) from the Musical Times revealed
this story to be totally apocryphal, that contemporary newspapers correctly
reported that he died mysteriously (apparently a heart attack or something
similar) while walking to or from the kitchen).
If you're all dying to know, I suppose I could spend the time and find the
exact citation.  It was seemingly a very well-researched article.

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.
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: Turangalila in the UK, where and when?
Date: 9 Oct 92 09:45:03 GMT
Organization: St. Andrews University, Scotland.

In article <1992Oct8.182528.1@vaxa.strath.ac.uk> caas12@vaxa.strath.ac.uk writes:
>In article <13035@ecs.soton.ac.uk>, hla@ecs.soton.ac.uk (Helen Ashman) writes:
>> Hi all,
>> 
>> It's rumoured (in a concert program) that the BBCSO are going to
>> perform Turangalila with Joanna MacGregor sometime soon in the UK.
>> But I rang BBC and they know nothing about it.
>> 
>> Does anyone know anything about this? Where, when ... 
>> 
>> Helen.
>
>I don't know about the BBCSO doing this, but the Royal Scottish Orchestra
>will be doing Turangalila in January with JMacG, so she must be working it
>into her repertory. I don't know who the conductor is, but I doubt if it is
>the music director Walter Weller.

I think Mark wiggelsworth is conducting.
Gavin Ramsay
From: maverick@fir.CS.Berkeley.EDU (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 13 Oct 1992 23:39:08 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: fir.cs.berkeley.edu

In article <1992Oct13.212828.24507@dartvax.dartmouth.edu>, Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:
|> Glass is just an also-ran in the twentieth century.

Strangely, I agree, though my nominees for the Real
Musicians are probably not the same as yours.

|> Good music still has a duty to the common people.

Phew!  It's been a while since I saw this one.  You might
enjoy a Morton Feldman anecdote I read recently -- he
studied with Stephan Wolpe, who had a studio near Union
Square in New York.  Feldman brought in some piece which
struck Wolpe (Wolpe!) as too far out, too exotic; Wolpe
asked, "But what about the man in the street?"  Feldman
looked out the window, and there went Jackson Pollock.

He went on to admit that Pollock's taste in music was
not as ... um ... up-to-date as his taste in painting,
but the point is clear; the concept of the "common people"
or "man in the street" as a unitary being possessed of
taste is a chimera worth spending lots of time not
pursuing.

	Vance
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Newsgroups: rec.music.classical
Subject: Music Theory Question
Date: 16 Oct 92 19:05:08 GMT
Organization: Colorado State University, Fort Collins, CO  80523

Perhaps someone out there could help me with this...maybe send me some email
or recommend a book that would answer my question...
  I only know a little about key and tonality (I am not a musician, but a
physicist.)  While I have no difficulty understanding the difference between
major and minor keys, I don't really understand how the various major keys
are related, and how they differ.  Technically, I understand...I mean it just
comes down to the sharps and flats in the key sig.  But very often while
reading about some piece, I come across comments like "...now the music
changes to the sunny key of C major..." or something like that.  Is it true
that C major is "brighter" than, say, E-flat major?  If so, why?  Is there
a mathematical reason?   I run across these kind of comments all the time, and
I am wondering just how objective/subjective they are.  I don't understand how
one major key can be so different from any other, because the mathematical
relationships between the notes is the same...all you do is just shift the
tonic.  Is it possible to arrange the keys in the order of "darkest" to
"brightest"?  If so, what is the order?

Thanks in advance,

-Mike Hurben


		  "Zwangvolle Plage!  Muh ohne Zweck!" Siegfried, Act I
From: mgresham@artsnet.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 16 Oct 92 23:07:09 GMT
Organization: ARTSNET,  Atlanta (Norcross) Georgia

marcs@slc.com (Marc San Soucie) writes:

> Deryk Barker (dbarker@spang.Camosun.BC.CA) writes:
> 
> > Glass is derivative of Terry Riley and Steve Reich, and far less
> > interesting than either of them.
> 
> Surprising. I've found Glass's best to be more interesting than Riley's 
> best, though Glass's worst can out-worst almost anybody.
> 
> Reich at his best was one of the best, for sure.
> 
>     Marc San Soucie
>     Portland, Oregon
>     marcs@slc.com

I have to agree about Reich, certainly among those composers
lumped into the minimalist genre.  John Adams (the John Coolidge
Adams, not John Luther Adams) I don't consider truly in the
minimalist abyss.  Personal opinion.

--Mark Gresham

dscatl!artsnet!mgresham@gatech.edu

...if the path fails, leave out 'artsnet'

=====
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: DEBATE for those who are interested
Date: Wed, 14 Oct 92 21:23:49 EDT

Personally, I think most classical composers (or composer-wannabe's)
hate ALW so much not for the music or style he writes in, but because
he's making SO MUCH MONEY doing what he does. He is a master of his
style, and for that he gets paid millions per year, and is, I believe,
the wealthiest musician alive (or at least ranks with the likes of
McCartney, Jackson, et al). However, since ALW's music is SO
PERFECTLY written in a style that is generally considered "vapid" by
classical standards, he gets an unfair trashing from the classicists
and others who consider themselves above that sort of music.
Personally I have no interest in ALW's music, but I do consider it the
BEST of its KIND, and that is what makes him so popular in the theater
world: most Broadway musical goers seem to be far more into ALW than
the classics, and to them ALW is as close to classical as many of them
wish to get. Just keep it away from MY ears, please...
-- 
  /\/\/\/\/\/\/\/\/\/\/\/\
/--------------------------\
| Work: music@moravian.edu |
\--------------------------/
  \/\/\/\/\/\/\/\/\/\/\/\/
Newsgroups: rec.music.classical
From: kldawkin@undergrad.math.waterloo.edu (Kiwi)
Subject: CD mail order in Canada
Organization: University of Waterloo
Date: Wed, 7 Oct 1992 14:30:05 GMT

Hello. I was wondering if there was any good CD mail order club
in Canada or one which will service Canada (I am sick of seeing those
stupid "Continental USA only" things in the small print of
American CD clubs). I can't get to Toronto very much to buy CDs and
generally, since I am usually after pretty esoteric or specific
things, there is nowhere nearby which sells them. Any help
will be greatly appreciated.

K.
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Dr. Faustus
Organization: Visual
Date: Fri, 9 Oct 92 17:22:07 GMT

Jussi Leiwo writes: 

>I just happened to read Thomas Manns book Doctor Faustus. It's an extremely
>good story about music, how Bach and Beethoven have done everything in the
>traditional sonata, and how the new music has to get its ideas from war,
>pain, disasters, from everything that is on the negative side of the human
>thaughts.

>The idea of the book, is that there is a young man, Adrian Leverkuhn, who
>is very talent and intellectual. The music chooses him, and he will be the
>one who starts creating new kind of music. He promises his soul to the devil
>and gets these new ideas of music (I guess the idea is German folk lore).
>The basis for 'the new music' is in Schonbergs music.

I understood the model to be Mahler.  The descriptions of the music this
composer writes is supposed to be very vividly imagined, as though you'd
swear that Mann has actually unearthed this music himself.

Interesting that Mann thinks a composer would have to "sell his soul" in
order to come up with the new music.  :-)

Rob
From: 910394f@ace.acadiau.ca (JAMES LEON FALCONE)
Newsgroups: rec.music.classical
Subject: the abuse of classical music
Date: 15 Oct 92 19:12:28 GMT
Organization: Acadia University

Yeah, The Carmina Burana thing is pretty bad, but we can't forget what Elvis 
did to Strauss!
JAMIE
From: Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker
Date: 14 Oct 92 21:39:32 GMT
Article-I.D.: dartvax.1992Oct14.213932.9173
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

Most of "Voyage:'s reviews are just terrible. Looks like a repeat of
Anthony and Cleopatra
Newsgroups: rec.music.classical
From: kiisaka@csi.uottawa.ca (Ken Iisaka (the mad pianist))
Subject: Re: Bach Cello Suites on Period Instrument: Rec. Wanted
Organization: Dept. of Computer Science, University of Ottawa
Date: Wed, 14 Oct 92 01:15:10 GMT

In article <1992Oct12.122743.19455@rz.uni-karlsruhe.de> gn17@rz.uni-karlsruhe.de (Dierssen) writes:
>BTW: Does anyone have heard of other excentricities on stage?
>     It will be funny to hear about.

I once saw Lynn Harrel, wearing a tux with a white jacket, black bow tie, with
BRIGHT RED SOCKS.  :)

-- 
Ken Iisaka               \ NEXT RECITAL  |12:00 pm, Thursday, January 7th, 1993
kiisaka@csi.uottawa.ca     \ Produced by |National Gallery of Canada, Ottawa
AI Lab, University of Ottawa \ CBC Stereo|Berg        Sonata, b minor, op. 1
H: +1 613 237 6642 W: 564 8155 \ 103.3 FM|Mussorgsky  Pictures at an Exhibition
Newsgroups: rec.music.classical
From: rpeck@bronze.ucs.indiana.edu (robert william peck)
Subject: Re: Opera in the vernacular
Organization: Indiana University
Date: Wed, 14 Oct 1992 14:28:27 GMT

In article <1992Oct14.081947.10567@bsu-ucs.uucp> 00hfstahlke@bsu-ucs.uucp writes:
>
>What works come to mind as untranslatable and why?
>
One work that comes immediately to mind is Steve Reich's _Tehillim_.
The text is in Hebrew, and its setting is primarily syllabic.  The
differences between Hebrew and English, particularly in the placement of
accents, being quite notable, I seriously doubt that this work could be
performed in English--or any other language, for that matter.

--Bob Peck  
Newsgroups: rec.music.classical
From: cec35848@uxa.cso.uiuc.edu (Chuck Carroll)
Subject: Opinions of _Classic CD_ Magazine?
Summary: Want opinions of classic cd magazine
Organization: University of Illinois at Urbana
Date: Fri, 9 Oct 1992 05:28:35 GMT
Keywords: classic cd magazine

I like listening to classical music, but I don't know much about it.
(Certianly more than your average man/woman off the street, but not
by much.)  I have about 25 classical CD's at the moment.
I am a member of the "Musical Heritage Society" classical music
club.

Anyway, in the latest "Musical Heritage Review" (read: catalog)
there is an ad for _Classic CD_ magazine.  Once a month the
magazine comes, and with it a CD.  According to the ad, the magazine
has (among aother things) "reviews of all significant new classical
CD's" and "Special features linked to the cover CD [which] enhance
understanding and appreciation."  The CD plays for 70 (or more)
minutes and has "highlights from 12-16 of the month's best new releases"
and "Each excerpt is usually 5 to 10 minutes long."

The cost is $34.95 for 6 months.

So my question is, is there anyone out there who subscribes to
this magazine now, or who has ever subscribed to it?  If so, what
do you think of it?  If nothing else, I'm hoping it will expose
me to a wide variety of classical music so that I know what I like,
rather than me going out and buying random CD's.

-- 
Chuck Carroll					      cec35848@uxa.cso.uiuc.edu
"Counselor Troi, do you sense anything from this 'Stimpy?'"
"I sense extreme stupidity...wait, there's something else...
I feel...Happy Happy Happy, Joy Joy Joy!"
Newsgroups: rec.music.classical