HDTenEightyP/NetNews huggingface dataset:
From: kiisaka@csi.uottawa.ca (Ken Iisaka (the mad pianist))
Subject: Re: Greatest living conductors
Organization: Dept. of Computer Science, University of Ottawa
Date: Fri, 18 Dec 92 06:00:32 GMT

He isn't yet quite well known yet, but I'd nominate Jun'ichi Hirokami as a
very promising conductor.
-- 
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: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Lost Masterpieces was Re: Dresden was Re: One-work-composers
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Thu, 17 Dec 1992 23:43:23 GMT

In article <1992Dec17.225720.4602@fid.morgan.com> apter@fid.morgan.com (Steve Apter) writes:

>New thread:  Presumably great works which were, or might have been, 
>lost or destroyed.

>Havergal Brian's cantata _Prometheus Unbound_ and Alkan's symphony come
>to mind.  

>I'm particularly interested in work destroyed during the two world
>wars.

>Does anyone have a sense of what might be out there, lying around in
>someone's attic, or buried in the Vatican archives?

On my list:
--the Cambrai Choirbook
--Monteverdi's Arianna
--Schuetz's Daphne
--The other 100 Bach cantatas

...and, of course, John Ernest Galliard's Sonata for 24 bassoons
and continuo -- though that one may have been destroyed on purpose.  8-)

Roger
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Re: Messiaen Favorites (not Turangalila)
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 19 Dec 92 02:07:05 GMT

In article <BzGnFD.680@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>In article <2B31ACA1.1286@news.service.uci.edu> josh@aris.ss.uci.edu (Josh Stern) writes:

>>Organ:
>>     Les Corps Glorieux - (1939); L'Ascension (1933).  Louis Thiry, Calliope.

>L'Ascension is also written for orchestra, and it is very good early
>Messiaen.  You can really hear his Debussy influences on this.
 
I've never actually heard the earlier orchestral *version* of L'Ascension.
The piece has four movts.  In each *version* the 3rd movt. is the most
complex but the two 3rd movts. are different from one another, and it
is actually the re-written 3rd movt. which draws the most attention to
the organ work.


- Josh


Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Review: Janacek string quartets
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 15 Dec 1992 19:50:16 GMT

In article <BzBC7D.9CB.1@cs.cmu.edu> acid+@cs.cmu.edu (Christopher Colby) writes:
>There was a recent thread on Janacek's (1854-1928) music in which one
>poster commented that the two string quartets, composed in 1923 and 1928,
>were his favorite two string quartets of this century.  I have similar
>sentiments; I do like Bartok's and Shostakovich's quartets, but I find
>Janacek's contribution to the form to be special.
>
>Finally, I got around to buying a recording of these two pieces, and I'm
>very happy with it.  I'd like to recommend it.  It is by the Gabrieli
>Quartet.  IMHO, the performers really capture the essence of this music.
>These pieces have many faces, some extreme, and the Gabrieli Quartet has
>enough versatility to reveal them.  Their ensemble is very good.  I feel
>involved in the music when I'm listening to them.  Although I'm not a
>string player, I imagine that these are particularly difficult works,
>technically, and the Gabrieli Quartet really comes through to meet the
>challenge.  Furthermore, I like their tone.  The recording took place in
>1977, and the remastered sound is very good.
>
>As a bonus -- and for me it can only be a bonus after the Janacek -- the
>disc includes a recording of the same vintage of Smetena's First Quartet,
>"From My Life".  I didn't know this piece until this recording, so I can't
>really comment on the performance other than to say that, since acquiring
>this disc, I have come to very much enjoy this piece.
>
>London mid-priced CD 430 295-2.  Total time is 73:18.  A bargain.
>
>-chris


Do yourself a BIG favor.  Get hold of an alternative performance of
these pieces.  I'd recommend either the Hagen on DG, who emphasize their
expressionist content, or the Travnicek on Opus, who simply outplay
all competition.  Other performances on CD I'd recommend are the
Talich (a bit wiry), the Stamitz (glorious tone), and the Lindsay
(ferocious).  Or wait for the Emerson to set their definitive stamp
on these remarkable works.







Newsgroups: rec.music.classical
From: atems@igor.physics.wayne.edu (Dale Atems)
Subject: Re: Bruckner (was Re: The BEST finale!)
Organization: Wayne State University, Detroit, MI
Date: Sun, 20 Dec 1992 22:44:32 GMT

In article <51000001@hpscit.sc.hp.com> miller@hpscit.sc.hp.com (Phil Miller) writes:
>But aren't the last two notes of Mahler's 1 actually taken from the      
>beginning of the second movement of Beethoven's Ninth Symphonie?

Actually, I've always thought of them as more of an "answer" to the
descending-fourth cuckoo-calls in the 1st movement.

------
Dale Atems
Wayne State University, Detroit, MI
Department of Physics and Astronomy
atems@igor.physics.wayne.edu
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Pianists
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Sat, 12 Dec 1992 01:07:47 GMT

mbfeld@unix.amherst.edu (A waste of bandwidth originating) writes:
: 
: I want to get some feedback on a thought I've been having...
: 
: Is it my imagination or are we in a time singularly short of good pianists?
: In the last 15 years, we have seen the deaths of Rubinstein, Horowitz, Arrau, 
: Gould, Hungerford (if you know him)... who remains of this quality?

Not to mention Serkin and Solomon (died 1988).

: I have respect for Richter, less for Barenboim, none for Pollini.

Why none for Pollini? I think he's a far finer pianist than Barenboim.
I know he can overintellectualise on occasion, but technically he is
surely supreme - listen to the last movement of his Hammerklavier.

: I also think Richard Goode is a hell of a guy...yet none of these people
: seem to really *have it* to the degree of the aforementioned, or to go back 
: earlier, of Lipatti, Schnabel, Cortot, Hoffmann, Busoni, etc...
: 
: Personally, I think the culprit is TV.

The culprit is more likely the gramophone and the 'global village'.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: dcc@hpcuhe.cup.hp.com (Don Cameron)
Date: Sat, 19 Dec 1992 04:13:52 GMT
Subject: Re: Re: One-work-composers
Organization: Hewlett Packard, Cupertino
Newsgroups: rec.music.classical

Sorry if this has been mentioned already, but how about Johann Kaspar
Ferdinand Fischer (German, mid-17th century), the work in question being
his Passacaglia (in D minor, from the 8th keyboard suite, I think)?

Actually, I'd be interested to learn if there are other works (esp. for
harpsichord) he wrote that would disqualify him as a one-work compser.

Don Cameron	"my other car is a harpsichord"
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Music in "The Shining"
Organization: University of Western Ontario
Date: Tue, 15 Dec 1992 21:26:43 GMT


Music for Strings, Percussion and Celesta by Bela Bartok.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Re: Greatest living pianist
Date: 20 Dec 92 00:02:40 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]


Crystian Zimerman

John
zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Requiems was Re: Requia
Date: 15 Dec 92 15:06:52 GMT
Organization: Oxford University VAX 6620

In article <1992Dec11.120528.4154@lloyd.Camex.COM>, chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>                                             ^^^^^^ 
>>Requiem is the singular accusative of requies.  The plural would be requies
>>(confirmation anyone?  *my* Latin is rusty).
> 
> No need for Latin here.  Requiem is an English word.  The plural is
> requiems.  Sometimes we can be too smart for our own good.  Maybe we
> should give this one a rest.  (See what I mean?)  %^)

Or if we really want a Latin phrase we could revert to Missa pro defunctis,
whose plural would presumably by Missae pro defunctis. (Always assuming that
Missa is used in Latin in the same noun sense as Mass is in English.)
-- 

Stephen Wilcox             |   For Sale: Posts in British Government. Suit
wilcox@vax.oxford.ac.uk    |   outgoing American. Highest bids accepted.
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Do composers need keyboards?
Organization: University of Western Ontario
Date: Fri, 11 Dec 1992 18:37:28 GMT

An awful lot of composers do or did not compose at the keyboard. They go 
from brain to page, which I think is amazing. I don't think one "needs" a 
keyboard to work out counterpoint, though many use one.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: borchers@poogh.llnl.gov (Robert R. Borchers)
Newsgroups: rec.music.classical
Subject: Re: Bamberg Symphony
Date: 18 Dec 92 18:17:47 GMT

In article <1992Dec3.204728.6575@spang.Camosun.BC.CA>  
dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
> bryan@well.sf.ca.us (Bryan Higgins) writes:
> : 
> : Is the Bamberg Symphony the same as the Bavarian Radio Orchestra, or a  
newer
> : name for it?
> 
> Is Bamberg in Bavaria? The BRSO is still going as far as I know. I
> always assumed it was based in Munchen (aka Munich) which is the
> capital of Bavaria.
> 
> --
> Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria  
B.C.
> Email: (dbarker@spang.camosun.bc.ca)
> Phone: +1 604 370 4452

The last time I was in Bamberg, about two years ago, the Bamberg symphony  
seemed to be alive and well. Bamberg is not in Bavaria. Bob 

--
Robert R. Borchers
L-414
Livermore, Ca 94551
borchers@llnl.gov
NeXTmail Welcome
Newsgroups: rec.music.classical
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Re: QUERY ABOUT NEW OPERA
Organization: Dept. of Mathematics, U. of Chicago
Date: Thu, 17 Dec 1992 17:46:48 GMT

In article <BzDGGC.5LA@usenet.ucs.indiana.edu> smitra@bronze.ucs.indiana.edu (Sami Mitra) writes:
>
>This week, last night here, George Jellineck introduced a new Finnish
>opera in his program The Vocal Scene. 
>(stuff deleted)
>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



The opera in question is Aulis Sallinen's "Kullervo", which is indeed
available on the Ondine label, with the wonderful Jorma Hynninen in
the lead role. I have not heard the recording, but it received very
favorable reviews in Fanfare and Gramophone. 

I look forward to geting to know this opera, because if "The red line"
and "Shadows" (a short tone poem based on material from Sallinen's
third opera, "The King goes forth to France") are anything to go by,
it's probably going to be a real treat.

"Shadows" was in fact my earliest contact with Sallinen's music; I first
heard the piece live on occasion of its first performance by the
Philadelphia Orchestra, and I was totally bowled over. There exists a
recording, on the Finlandia label, with Okko Kamu conducting, and also
including the Cello concerto and Symphony #4 by the same composer.
Impressive stuff, to say the least. For those who have never heard any
of his music, let me say that at least for me, it inhabits an
emotional world somewhat akin to certain works of Britten (the Cello
Symphony, for example) or Dutilleux (Symphony #1). This is not to say
that Sallinen's music is in any way similar to Britten's or
Dutilleux's, but rather that **I** feel there is a curious affinity,
but others may disagree.
Organization: University of Maryland at Baltimore
Date: Thursday, 17 Dec 1992 13:49:39 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject: Re: EVER SO SMALL A RECOMMENDATION WANTED

Dave asks for recommendations for the Beethoven Opus 126 No. 3
Bagatelle.  Of the list, I recommend the Kovacevich.  For a more
Brucknerian kind of humor, try the Gould (released on Sony Odyssey
budget label).

Bob
From: spacefox@acs.bu.edu (Godfrey Degamo)
Newsgroups: rec.music.classical
Subject: Schirmer, Chopin, Mikuli, and Horowitz...
Date: 11 Dec 92 17:11:22 GMT
Organization: Boston University, Boston, MA, USA
Originator: spacefox@acs.bu.edu



Hello Readers,

     First let me say thanks for all the wonderful responses to my previous
posts!  They were very informative.  Now, I have another question, perhaps
you can answer me.  (Actually, I have a few, but I leave that for some
other date, I don't have the book with me.)

     Anyways, after buying Chopin Nocturnes For the Piano, Joseffy Edition
from the Schirmer's Library of Musical Classics (L. 30), I discovered,
looking at the back of the book, that there is a Mikuli and Joseffy
Editions of Chopin's works.  I suppose they are arranged differently,
but by how much?  And does it really make a significant difference?


Following up this question,

      I have Vladimir Horowitz, The Last Recording a Sony Classical CD.
I am curious as about his performance of Chopin's Nocturne Op. 62, No. 1, "The
Tuberose Nocturne."  In particular, I am curious about 2 measures.  It's location
is 2 measures over from the last measure containing a trill.  (Trill is
on F#)  Anyways, the measure in question is the 2 measures where the only
the right hand plays, according to my Mikuli edition.
      It seems to me, that Horowitz performance of these two measures sounds
much thicker than what I can do (ofcourse, I'm no Horowitz!)  How does he
accomplish this?  It sounds as if the left hand is actually playing something.
Is it?  I know that Horowitz had a habit of modifying compositions.  Is it
so in this case?  Does he play a different arrangement?
      Anyways, I've heard others play the "Tuberose Nocturne".  Overall,
they don't sound as murky nor as thick as Horowitz.  I love this effect.
Does anyone know how Horowitz does it?  (Is it all in the pedal?)



Well, sorry if this is a boring trivial question not worth your time or
net-space.

Anyways, I do hope I get some nice responses.  Good day to you!


                                -G. Degamo,
                                 spacefox@acs.bu.edu
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: How to read orchestral scores?
Date: 18 Dec 92 00:21:31 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Dec16.214946.15659@cs.ucla.edu> gds@cs.ucla.edu (Greg Skinner) writes:
>I think he's talking about the kind of score where every instrument
>(or instrument group) is in their own line.  I don't know too many
>people who can read 20 lines at once. :-)

Actually, you can indeed develop that skill.

>I once read a book on conducting that suggested that the conductor
>refer to the reduced score (if it is available) for the general flow
>of the piece, and to the individual parts if [s]he wished to examine
>something specific.

When conducting, you *need* to know and understand all of those
specifics.  We were discouraged from using a "short score" because
such a score does not contain enough musical information to
conduct more than a mediocre and significantly misunderstood
performance.  On really cannot rehearse and ask/answer the necessary questions
for shaping a work from a short score.  The short score also will
often leave out significant musical features (even notes).

>  The book also recommended that the conductor
>study the score before conducting the piece,

Keen insight into the obvious. :-)

>making notes of
>significant sections.  Playing the piece on the piano was offered as
>another alternative, but the author implied that the conductor ought
>to be training themself to hear the piece in their head as they read
>the score.

While the latter is true, the keyboard is a useful tool (used by
many excellent conductors) for study assuming the score being
studied is a full score and not a short score.

I would suggest throwing away that book.


>I imagine some sight-reading and ear training classes will help also.

They would be IMHO essential.

>--gregbo

Cheers,

--Mark Gresham
dscatl!mgresham@gatech.edu
=====

Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Ockeghem (was Re: Lost Masterpieces)
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Sun, 20 Dec 1992 15:21:41 GMT

In article <1992Dec20.064010.22971@Princeton.EDU> Roger Lustig writes:
>In article <y1p2b+b@rpi.edu> Todd Michel McComb writes:
>>think of the ideas, the unpublished material, all totally lost.  The fact

>True of every composer.  Imagine the improvisations that Haydn or Chopin
>didn't write down.  Think of the 75% of Brahms' work he claimed to have
>burned.

True.  But there are hundreds of surviving works by those composers --
enough to satisfy me.  Obviously, this is a silly personal distinction.

>>that I can regard Ockeghem as one of the greatest composers ever based only
>>on what does exist makes me really wish there was more material.  Of course,
>>if the set of chansons finally appears here (and Steve Apter mentioned a
>>while ago that it has appeared in Japan), I might not feel so short-changed 
>>-- particularly if I find a recording of the Missa Mi Mi.

>There is one, I think.  Perhaps on Reflexe?  As for the chansons, why not
>learn them?  Find a few friends who can play this or that, or who can
>sing with you.  

The Reflexe disc is cut-out, something which the nice people at EMI seem to
do to anything interesting they ever produce.  Can anyone understand their
motivation?  I mean, they already paid out the money to make the recording.

Learning the chansons would probably be fun.  Once I finally get away from
this place and can use a music library, I might be able to muddle through
the bass parts.

T. M. McComb

Newsgroups: rec.music.classical
From: jefrank@magnus.acs.ohio-state.edu (Jason E Frank)
Subject: Re: The BEST finale!
Organization: The Ohio State University
Date: Thu, 17 Dec 1992 00:25:47 GMT

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

Here's 4 finales which always grab  my attention no matter what else I'm
doing at the time:
	Borodin--Quartet No. 2 in D  (close second in this genre:  Tchaikovsky
					Quartet No. 1 in D)
	Barber--Violin Concerto (his cello concerto comes close here too)
	Sibelius--Symphony No. 6  (for symphonic writing, nothing comes close
		to this level of emotional intensity, at least for me)
	Glass--part 12 of Music in Twelve Parts  (Glass' most gripping
		writing to date, and Dora Ohrenstein's voice still haunts
		me in my dreams...)

On the other hand, I could come up with a much longer list of favorite
"middle movements"!

--jason
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: SURVEY: FAVORITE PIANO CONCERTO
Date: 21 Dec 92 01:18:43 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]


I must admit I'm starting to enjoy these "Greatest All-Time" and "Favorite" 
threads, so I'm starting another one.  :-)   The question is, What is your
favorite piano concerto?

And a very important sub-question: What's your favorite *Beethoven* piano 
concerto?

Inquiring minds want to know...


John
zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: AH.PBL@forsythe.stanford.edu (Mark)
Newsgroups: rec.music.classical
Subject: Music during Toscanni film
Date: 14 Dec 1992 15:27:17 -0800
Organization: Stanford University
Distribution: net
NNTP-Posting-Host: morrow.stanford.edu


Does anyone happen to know what the piece of music was at
the end of the "Toscanni" special that was broadcast on
"Bravo" last night (Sun, 12/13/92)?  It was the piece that
was playing during the closing credits.

Thanks,

-- Mark
From: kpl@philabs.philips.com (K P Lee)
Newsgroups: rec.music.classical
Subject: Re: Bayreuther/Phillips Series
Date: 18 Dec 92 18:20:08 GMT
Organization: Philips Laboratories, Briarcliff, NY 10510
Originator: kpl@gandalf


In article <1992Dec17.202341.27324@photon.com>, wmc@photon.com (Bill Cornette) writes:
|> 	I saw a CD from Phillips in the store that appears to be advertising
|> a Wager series.
|> 	Anybody know anything about this?  I haven't seen any of the main
|> releases, just this sampler/teaser.  Any comments? Reviews? Where to write to
|> find out more?
|> 

I assume you are talking about the Wagner Edition from Philips (one L)
Edition.
It is a 32 CD collection of Bayreuth Destival productions of all
Wagner's operas (at mid-price). The operas are also available
individually. The one you saw is probably the Sampler (434 979-2).
The code for the complete edition is 434 420-2.

The edition is also available on Laserdiscs, VHS tapes and cassette tapes.

If you want more details, send me e-mail.

-- 

K.P. Lee                        Philips Laboratories
(914) 945-6249                  345 Scarborough Road
kpl@philabs.philips.com         Briarcliff Manor, NY 10510
Newsgroups: rec.music.classical
From: tlp31807@uxa.cso.uiuc.edu (T.I. double G-GER )
Subject: Re: Mahler novice
Organization: University of Illinois at Urbana
Distribution: rec
Date: Wed, 16 Dec 1992 16:27:43 GMT
Keywords: mahler

langs@puhep1.princeton.edu (David Langs) writes:
>In article <1gi1bhINN8en@corax.udac.uu.se> mgn@csd.uu.se (Magnus Nordin) writes:
>>I'm curious about Mahler and have decided to start listening to his
>>symphonies. My question is: which symphonies to buy and which
>>conductor(s)?
>>
>>Should I buy a complete cycle or some "basic" subset of the
>>symphonies?  



Foremost, I would like to congradulate you on your excellent decision to
pursue Mahler.  He is a unique composer who has written the most wonderful,
moving, romantic pieces that I have ever heard in my life.  He is my
absolute favortie!!  (if you couldn't tell...)


>     If you insist on a boxed set, Solti is probably the best bet
>because it is cheap and fairly good.  Some of the recordings in the set
>such as 5, 7, and 8 are outstanding, while others such as 1 and 6 I find
>disappointing.  (I have not listened to the others in the set yet, but I
>plan to soon.)  If you have a bit more money to spend, some people
>really like the Bernstein box, but I don't care for all of his
>interpretations.



I agree with most of Dave's advice.  The above advice is excellent.  I 
am fond of Solti and the CSO recordings because I play french horn and
CSO's brass section kicks...  well... you know how the saying goes.
Beginning with the first symphony is elementary.  It is a piece that is
easy to listen to (I won't go into details).  However, his fifth symphony
is a masterpiece and is my favorite.  It is well worth taking a listen to!!

Enjoy!!

Theresa Prack
Music Education at the University of Illinois
tlp31807@uxa.cso.uiuc.edu
 
Newsgroups: rec.music.classical