HDTenEightyP/NetNews huggingface dataset:
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Re: **QUICK SINEAD SURVEY PLEASE ANSWER**
Organization: University of Illinois at Urbana
Date: Thu, 17 Dec 1992 18:08:56 GMT

Lenard E Soto writes
> Does she [Sinead O'Connor] compose classical music?
> if so, i'd like to know.

Probably not, but I've heard rumors that she is planning to drop her pop carrer  
and train as an opera singer.  This tidbit, which I read in the NYT, may just  
be a rumor, and may even have been intended as a joke, although there was no  
``;-)''.  But if true, it is valid to discuss her here.

Ed erwin@lisboa.ks.uiuc.edu
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Requia
In-reply-to: roger@crux.Princeton.EDU's message of Sat, 12 Dec 1992 23:54:39 GMT
Organization: pubs
	<1992Dec12.235439.16459@Princeton.EDU>
Date: 14 Dec 92 10:51:37 CST


I didn't study Latin but my wife did.  We agreed that more than one
kleenex would be several kleenices, and she informed me that more than
one thermos would be several thermores.  I want to get these things
right.

Chris Brewster
cb@cray.com

Newsgroups: rec.music.classical
From: rwilmer@carrier.mitre.org (R. Wilmer)
Subject: Re: NEWS: Pavarotti booed out of the SCALA
Organization: Mitre Corporation, McLean, VA
Date: Fri, 11 Dec 1992 19:32:07 GMT

In article <Bz3tvA.HGt@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>
>.  The one time I've booed was for a baritone singing
>Germont in Philadelphia, who went flat on every single phrase as well as
>scooping from below into every single note (not just first notes of
>phrases).

Now wait a minute Jon.  This seems to me a serious contradiction.
If he constantly sang flat, he must have been scooping from below
into something other than the actual notes.  Perhaps scooping
from the depths but never reaching the surface?

Richard
Organization: University of Illinois at Chicago
Date: Sunday, 20 Dec 1992 10:21:29 CST
From: Howard Wachtel <U13054@uicvm.uic.edu>
Newsgroups: rec.music.classical
Subject: Re: The BEST finale!

In article <1gnii7INNibh@master.cs.rose-hulman.edu>,
stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) says:
>
>What is YOUR favorite ending or finale to a classical piece?

  OK, I'll add to the morass of opinions on this subject:  the finale of
the Tchaikovsky Orchestral Suite #3, the most majestic ending I can think
of.

   Is anyone keeping track of the votes?  It seems like Mahler is
in the lead...
________________________________________________________________
Howard K. Wachtel              University of Illinois at Chicago
U13054@UICVM.CC.UIC.EDU        Phone (312) 975-7970
Newsgroups: rec.music.classical
From: torenvl@ecf.toronto.edu (TORENVLIET GERARD LAWRENS)
Subject: Beethoven's Symphonies
Organization: University of Toronto, Engineering Computing Facility
Date: Fri, 18 Dec 1992 03:20:59 GMT

This afternoon I was in a record store here in Toronto and noticed that 
Sony has compiled many of their "Essential Classics" into box sets.  The one    
that I was interested in, in particular, was a compilation of Beethoven's Nine
Sypmphonies.

Being on a student's budget, all nine of the symphonies in a $32.99 (Cdn.) box
set is a good deal.  I am just wondering, is this a good recording?  It is one
done by George Szell and the Cleveland Orchestra...

...or should I hold out and spend $75 to get the Harnoncourt set?

Regards,
Gerard

Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: QUERY ABOUT NEW OPERA
Organization: Indiana University
Date: Wed, 16 Dec 1992 21:45:48 GMT


This week, last night here, George Jellineck introduced a new Finnish
opera in his program The Vocal Scene. I caught snatches of it and
didn't get the name of the composer (a Swedish friend wondered if it
was Sallinen). He played excerpts from a performance given in LA,
earlier this year I think, but I don't remember the name of the
conductor either (it was not Esa Pekka Salonen). Most of the cast was
Finnish, but the only name I recognized was Matti Salminen's.

Anyhow, the opera is called KOULLERVO(sp?) and is based on the
Finnish mythical figure of that name. It is to be performed at the
opening of the new opera house in Helsinki late next year.

Does anyone know where I can get more information about this work?
Presumably a recording exists, Jellineck had it from some source
after all. Does anyone know anything of this broadcast recording or
any other recording? I shall, in the meantime, try to get these
answers from other sources as well.

Thanks.

				Sami Mitra
From: Karen Ronan <ronan@mendel.berkeley.edu>
Newsgroups: rec.music.classical
Subject: Re: Cecilia Bartoli
Date: 18 Dec 1992 22:40:12 GMT
Organization: None
Distribution: world
NNTP-Posting-Host: kos2mac16.berkeley.edu
X-UserAgent: Nuntius v1.1.1d10
X-XXMessage-ID: <A7579002F2018056@kos2mac16.berkeley.edu>
X-XXDate: Fri, 18 Dec 92 14:26:10 GMT

I would recommend that anyone who is interested in Bartoli just try one
of her CD's - you won't regret it.  My first CDs were "Mozart Arias" and
"Rossini Heroines."  I could not stop listening to them!  Personally, I
think "Rossini Heroines" is an excellent introduction to Bartoli.   "If
You Love Me" is beautiful as well, but maybe "Rossini Heroines" or
"Rossini Arias" would be more exciting for a start.  Get them all if you
can.
Newsgroups: rec.music.classical,alt.conspiracy
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Re: Wagner and Jews?
Organization: University of Virginia
Date: Sat, 19 Dec 1992 01:31:00 GMT

In article <1992Dec15.201420.6673@netcom.com> sheaffer@netcom.com (Robert Sheaffer) writes:

>
>This extreme anti-Wagnerism is, by the way, for some reason that escapes me,
>a favorite hobby-horse of the Larouchians. (They themselves leaning
>toward anti-Semitism, seems to me they'd find in Wagner a kindred
>spirit, but apparently The Master doesn't see it that way.)
>

easily explained. LaRouche is very very french, and devotes more of
his time (or at least more of NEW FEDERALIST) attacking the British and
the Germans than jews, or anyone else. Remember how Queen Eliz. is part
of the international drug conspiracy. Strange how no French politicians
are ever subject to his rants.


Newsgroups: rec.music.classical
From: fujimoto@carson.u.washington.edu (Bryant Fujimoto)
Subject: Re: Too Polite (was Re: news: pavarotti booed out
Organization: University of Washington
Date: Wed, 16 Dec 1992 07:53:56 GMT

lfd@cbnewsm.cb.att.com (Lee Derbenwick) writes:

>In article <1992Dec15.150531.19216@news2.cis.umn.edu>,
>jill@gopher.ccbr.umn.edu (Jill Hollifield) writes:
>> I live in Minnesota, "Home of the Obligatory Standing Ovation" (tm).
>> I have never been to a concert where there wasn't a SO, whether
>> the performance was good, bad, or indifferent.

>What concerts do you go to?  My wife and I lived in the Minneapolis
>area from 1987 - 1989, and we attended _lots_ of Minnesota Orchestra
>concerts at Orchestra Hall, plus a bunch of SPCO concerts at the
>Ordway.

>Leaving out a horrid 11:00am Sommerfest audience, there were few
>standing ovations, and I very few that weren't well deserved.  

I attended a concert in the mid 1970's in Minneapolis.  Alfred
Brendel was performing with, I believe, the St. Paul Chamber Orchestra.
He walked on stage, bowed to the audience, sat down to prepare to
play, and then had to stand up and bow again before the audience would
stop applauding so he could play!

My impression was that SOs occurred much more frequently for visiting
artists.  Maybe back then people in Minnesota were so grateful that
anyone would come to Minnesota that they gave a SO out of gratitude? 
Just guessing, I don't really know.

But since we were (or at least I was) talking about Brendel, what does
the net think of his performances of the Beethoven sonatas?

Bryant Fujimoto
fujimoto@denali.chem.washington.edu
Newsgroups: rec.music.classical
From: tait@cs.columbia.edu (Carl Tait)
Subject: Re: Prokoviev, Scriabin, Piano works
Organization: Columbia University Department of Computer Science
Distribution: na
Date: Tue, 15 Dec 1992 03:46:07 GMT

In article <hellerS.723959403@batman> hellerS@moravian.edu (sjh) writes:
>
>I still consider Van Cliburn's rendition of Prokofiev's 6th Sonata one of
>the greatest! And his Barber Sonata is fine, also. These were released on
>RCA (I think) together some time back (70's) and might be on CD now.

Cliburn's Prokofiev Sixth is indeed excellent, but I think Pogorelich's
version has more wit and flair -- and I'm not usually a Pogorelich fan.

As for the Barber Sonata, by far the best two recordings are Cliburn's
and Horowitz'; which version you prefer will depend on your temperament.
Cliburn's recording is classical, controlled, and powerful, while
Horowitz is more unbuttoned and ferocious.  (I prefer Horowitz, but
wouldn't want to be without either recording.)

Both of these Cliburn recordings -- and Horowitz' Barber -- are
available on mid-price RCA CDs.

Carl Tait

Newsgroups: rec.music.classical
From: shire@dorsai.com (Kenneth Shire)
Subject: Re: Various _Goetterdaemmerung_s 
Keywords: Janowski, Karajan, Solti
Organization: The Dorsai Embassy, New York's Computer Consulate. +1.718.729.5018
Date: Mon, 14 Dec 1992 14:25:58 GMT

Jon, As an admirer of Wagner, and moreover, almost an idolator of his 
grandson, Wieland Wagner, I am hungry for more details of Kupfer's 
Bayreuth RING.  Someone posted a note mentioning that the production has 
been filmed.  But I'm too impatient to wait till it becomes available.  
In the magazines I've seen, there is always talk about the basic "idea" 
being a kind of time tunnel. I've only seen poor black&white photos of 
the show and can't get any idea of what Kupfer is trying to do here.  
More details please!
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: One-work-composers
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 18 Dec 1992 00:28:51 GMT

ronthal-adam@yale.edu (Adam Ronthal) writes:
[....]
: The Rott symphony dates from 1878-1880, at least 8 years _before_ Mahler's 
: 1st.  Allow me to quote from the program notes to the BIS edition:
: 
: "It is beyond question that Mahler himself was influenced by Rott's 
: symphony.  Especially the scherzo of Rott's symphony bears a string
: resemblance to Mahler's musical language, and we should bear in mind
: that Rott completed his only symphony in 1880, eight years befor Mahler's 
: first.  The influence of Rott can thereafter be observed in all of 
: Mahler's symphonies."  --Stig Jacobsson
: 
: This does not mean that Rott was where Mahler got all his inspiration,
: it simply means he was influenced by him, at times more than others.
: It is not a condemnation of Mahler and should not be taken as such.

Yes but Das Klagende Lied dates from 1880 and there were certainly
earlier symphonies - as I believe I mentioned before - than No.1. I
think Jacobsson's remarks are pure speculation. Even Mahler's
panegyric on Rott - written after he had borrowed the score of Rott's
symphony in 1900 - stops short at saying that he actually took
anything from Rott. "His innermost nature is so much akin to mine that
he and I are like two fruits from the same tree, *produced by the
same soil, nourished by the same air* (my emphasis). We would have had
an infinite amount in common."

--
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: rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy)
Subject: Re: The worst composer in a millenium
Reply-To: rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy)
Organization: Columbia University
Date: Tue, 15 Dec 1992 15:26:18 GMT

Thank you "Messiaen" lovers and haters for your replies.  I have had
Messy lovers explain that Messiaen was a very religious person and
hence in Turangalila he takes up birds as the topic since they portray
to him the holy ghost (as per trinity).  

My main answer to that would be that music does not have any barriers
and if it was a good composition I do not think we would have such a
big line of Messy haters.  It was Svedjas portrayal of Messaien works
which made me buy the "Turangalila" recording and now I am in no doubt
that he desreves that description.

Ravi


Newsgroups: rec.music.classical
From: pedersen@seas.smu.edu (Ted Pedersen)
Subject: A Room With a View Music
Organization: SMU - School of Engineering & Applied Science - Dallas
Date: Sun, 13 Dec 1992 01:20:31 GMT

I was wondering if someone could tell me what opera is featured so
prominently in the music of the film "A Room With a View"? This is
sort of silly to add but I know that it was Italian. (Let the jeers
begin). 

I'd appreciate any help on this as I go around humming the music 
these days and wish I knew what it was so I could go get a copy of it.
I've considered renting the movie again and combing through the
credits but I thought perhaps an opera and film buff could save my
eyes some grief.

Thanks,
Ted Pedersen
Newsgroups: rec.music.classical,ne.general
From: MICHAEL.WILLETT@OFFICE.WANG.COM ("Michael Willett")
Subject: Mezzo-soprano Teri Medley Expands Caroling at Boston Ritz-Carlton
Organization: Mail to News Gateway at Wang Labs
Date: Fri, 11 Dec 1992 17:53:10 GMT

In view of the enthusiastic response to the Teri Medley Christmas Caroling
at the Ritz-Carlton Hotel in Boston, the Ritz-Carlton, Boston's leading
luxury hotel, has dramatically expanded their Caroling schedule.  The
revised and expanded schedule is posted below:

Leading mezzo-soprano Teri Medley, currently under contract with the
New York City Opera, headlines a group of Christmas Carolers at Boston's
prestigious Ritz-Carlton hotel, located at the corner of Newbury Street
and Arlington Street in Back Bay.  She has recently completed a number
of engagements with leading symphonies around the US.  Formerly a
soprano when she studied voice at Oberlin just after Cheryl Studer,
Medley is now singing mezzo roles as her voice has become richer,
fuller, and deeper.  The Caroling marks Medley's last scheduled
appearances in Boston before the start of the New York City Opera
"Carmen" tour.

The expanded Christmas Caroling schedule (subject to change) is now:

December
11th   Friday:     12:00--1:30       8:30--9:30
12th   Saturday:                     7:00--8:00
13th   Sunday:     11:30-12:30
                    1:00--2:00
17th   Thursday:    4:00--5:00       6:30--7:30
18th   Friday                        6:30--7:30
                                     8:00--9:00
19th   Saturday    12:30--1:30       5:00--6:00
20th   Sunday      11:30-12:30       6:00--7:00
23rd   Wednesday                     5:30--6:30
                                     7:00--8:00
24th   Thursday     4:00--5:00       6:00--7:00
25th   Friday, Christmas Day --Times Not Yet Scheduled

The Teri Medley Christmas Carolers sing in the six key
locations in the hotel, including the various bars, clubs,
restaurants, and lobby.

Newcomers to the Ritz-Carlton may also wish to view the
hotel's extensive art collection on display.

Convenient parking is available on Newbury Street across from
the hotel, and also in the Boston Common parking garage near the
hotel.  Call 617-536-5700 for further information or reservations.

Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.classical
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: Re: Maddy Prior's Christmas album
Organization: The Ohio State University
Date: Sun, 13 Dec 1992 21:55:16 GMT

It's called "A Tapestry of Carols".  I wholeheartedly second this nomination!
There are some very original interpretations on this album.  "Angels WeHave 
Heard On High" must be heard to be believed -- either you'll love it or hate 
it!  Merry Christmas, everyone...... :-)
-- 
*>   Michael J. Valinis   -=+<*>+=-   mvalinis@magnus.acs.ohio-state.edu   <*
*>=>  "Music is your own experience, your thoughts, your wisdom. If you  <=<*
*>+>=> don't live it, it won't come out of your horn." -Charlie Parker <=<+<*
*>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<*
Newsgroups: rec.music.classical
From: md@sco.COM (Michael Davidson)
Subject: Re: Looking for Classical Wedding Music
Organization: The Santa Cruz Operation, Inc.
Date: Fri, 18 Dec 1992 21:25:36 GMT


mixterhp@appstate.edu (Perry Mixter ) writes:

>In article <1992Dec17.164602.14299@hubcap.clemson.edu>,
>jayc@hubcap.clemson.edu (Jay Crawford) wrote:
>> 
>> I'm getting married in June in a small church that has a nice pipe organ.  My
>> fiance and I would like to open the ceremony with 30 minutes or so of music, 
>> as well as have the entrance and exit with nontraditional music.

>For preludes:	
>Bach	     Air on a G String or almost anything by Bach
>Handel    Selections from Water Music

>For exit music
>You CANNOT go wrong with the Finale from WidorUs Symphony #5 (Toccata), but
>your organist had best be up for the challenge of playing it!  The Toccata
>is played all the time in churches so it should pass your churchUs
>requirements.

While these suggestions are good, they are in my opinion really still
quite "traditional" in the sense that they *are* "played all the time".
(although one advantage of this is that your organist is unlikely to
have much trouble with them - the Widor toccata isn't that difficult).

I tend to think that the following program would be more interesting
(although in this case you had *definitely* better make sure that your
organist is happy with it .....)

Before the service:

Bach trio sonatas (numbers 5 and 6, for example)

Entrance:

Bach Sinfonia from Cantata 29 

Exit:

Dupre Prelude and Fugue in B major (Op 7)

Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: interesting phenomenon
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 16 Dec 92 11:21:19 EST

S>>In article <724114284.8050.0@romulus.mercury.andrew.cmu.edu> Ken Zuroski <kz
 >>>
 >>>I've been listening to quite a bit of modern classical music as of
 >>>late--the first time I ever really got into it in my life. One
 >>>interesting side effect of all this listening is that: more and more
 >>>when I'm just sitting doing some work and NOT listening to music, all of a
 >>>sudden I find the ambient sounds around me are somehow working together
 >>>and producing "music," which is almost as pleasurable an experience as

S>>What you are reporting is a common experience for a sensitive, musical
 >>mind.>

S>And consider yourself FORTUNATE! Now, you may hear "music" wherever you may
 >be. Go out in the woods, as Messiaen did so often, and _listen_ to the
 >music of nature. This does not mean that all sounds equate to music, but it
 >DOES mean there's more music in this world than meets most ears!

It seems to me Beethoven was even more famous for his walks in the
woods. Of the course, the really important question to ask -- and I
leave it for another to base a post graduate thesis on --

        "If a tree falls in the forest while Beethoven is
        strolling about, does he hear it?"

(Sorry. Couldn't help myself <g>!)

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: abrocke1@cc.swarthmore.edu (Aaron Brockett)
Subject: Re: interesting phenomenon
Organization: Swarthmore College
Date: Wed, 16 Dec 1992 05:41:35 GMT

In article <724114284.8050.0@romulus.mercury.andrew.cmu.edu>, Ken Zuroski
<kz08+@andrew.cmu.edu> writes:
> 
> 
> Hi:
> 
> I've been listening to quite a bit of modern classical music as of
> late--the first time I ever really got into it in my life. One
> interesting side effect of all this listening is that: more and more
> when I'm just sitting doing some work and NOT listening to music, all of a
> sudden I find the ambient sounds around me are somehow working together
> and producing "music," which is almost as pleasurable an experience as
> if I put some Bartok or Stravinsky on the CD player. I guess my brain
> is becoming tuned to appreciate odd and--I don't have the correct
> terminology to describe this--exotic tempos, syncopations etc., as well
> as "atonal" (correct word?) pitches and so forth; a sudden
> repetition of phrases is no longer a requirement for me to
> consider a sound "music." For instance, just before I posted this--in
> fact, what posted me to prompt--was that I was listening to a
> combination of the whir of my computer's hard drive, which seemed to be
> punctuated by the sounds of someone shoveling snow from outside my
> house, with the sounds of water dripping in the bathroom also thrown in
> there as another "voice."
> 
> 
> Well, kind of an odd point and perhaps it should better be directed at 
> sci.psychology, but I was interested if others experienced this when they
> first began listening to modern music. 
> 
> Ken
> ---
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Ken Zuroski
> Department of English
> Carnegie Mellon University
> Pittsburgh, PA 15213 USA
> kz08@cmu.edu
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~
> 
Actually, the same thing happened to me in the same circumstances. I had
been listening to contemporary music regularly for the first time ever. One
morning  I was sitting in the listening room of my college's music library,
changing the cd. There was a grass cutter outside whose pitch was
constantly varying, someone in the next room had a Mozart piano concerto on
that was just barely audible, and someone else was practicing isolated jazz
riffs in another nearby room. Usually, the noise would have annoyed the
hell out of me, but this time I sat there transfixed by the combination
that was produced. Granted, this wasn't just background noise--there was
'normal' music as well--but I think it's the same phenomenon. Similar
events have occurred since then.

--Aaron Brockett


Newsgroups: rec.music.classical
From: hcresnic@quads.uchicago.edu (hugh carney resnick)
Subject: Re: Flight of the Humblebee
Reply-To: hcresnic@midway.uchicago.edu
Organization: University of Chicago Computing Organizations
Date: Thu, 17 Dec 1992 00:17:03 GMT

There is a great version performed by the Muppet Show pit band, with 
obbligato rubber-tire-eating by the Great Gonzo, although I don't know if "The
Muppet Show Cast Album" is still in print.

:^>

hugh
-- 
_________________________________________________________________________
	  Hugh C. Resnick (hcresnic@midway.uchicago.edu)
"What if I were Romeo in black jeans? What if I were Heathcliff, it's no
myth. Maybe she's just looking for someone to dance with." - Michael Penn