HDTenEightyP/NetNews huggingface dataset:
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Oboe family (was Re: Cor Angl*)
Date: 8 Apr 92 00:02:34 GMT
Article-I.D.: husc3.1992Apr7.200235.10815
Organization: Harvard Math Department

In article <1992Apr07.185025.204871@cs.cmu.edu>
hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
>
>OK--The oboe, oboe d'amore, English horn and bass oboe are the soprano thru
>bass members of the oboe family respectively.

I'm wondering whether the implied analogy with the four standard human
voice ranges might be misleading here.  With the saxophone family the
ranges of the soprano, alto, tenor, baritone and bass instruments are
in roughly the same relation as the corresponding voice ranges; likewise
the four sizes of trombones, though the soprano and (more recently) alto
trombones are obsolete or nearly so [original instruments revivals may
change this].  With the oboes it seems to me that soprano, mezzo, alto
and tenor might be a nearer approximation than the usual SATB line.  (When
it comes to trumpets it's probably better to drop the analogy entirely ---
the ranges are too high and too close to each other.)


--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: government and the arts
Organization: Open Software Foundation
Date: Tue, 14 Apr 1992 17:52:17 GMT


Let's not forget the US government does substantially fund the arts, albeit
indirectly.

My tax form allows me to identify for a deduction any of a wide range of
voluntary donations to non-profit and cultural organizations.  So, if I
volunteer to give, say $100 to the BSO, I actually pay (what's the marginal
rate; I never can remember) $74 and Uncle Sam kicks in $26: money that he
would otherwise have had.  Come to think, I didn't spend the money on a
consumer toy, so the State is forfeiting sales tax.

You can achieve the same end in Britain, but if things haven't changed, the
method via Deed Of Covenant is an unwieldy process.

Now I don't claim that this is an ideal situation.  It still leaves the
choice of supported artists at the whim of the consumers, and I do still
believe it is a function of national insitutions to foster endeavors that
are currently experimental and not mass-popular.  But it does give the lie
to the notion that the USG starves the arts.
-- 
David Brooks				dbrooks@osf.org
Systems Engineering, OSF		uunet!osf.org!dbrooks
From: vance@speech.sri.com (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Cor ANGLIAS or ANGL'E
Date: 7 Apr 92 17:41:22 GMT
	<1992Mar26.122556.28569@unx.sas.com>
	<CB.92Apr7110212@tamarack12.timbuk>
Organization: Speech recognition group, SRI
In-reply-to: cb@tamarack12.timbuk's message of 7 Apr 92 16:02:14 GMT


In article <CB.92Apr7110212@tamarack12.timbuk> cb@tamarack12.timbuk (Chris Brewster) writes:

   I have a question, which may have been already answered by implication, but
   I need it spelled out: how are oboe, English horn, and bassoon related?  Is
   any of these a bigger or smaller version of another (analogous to cornet
   and baritone horn) or is there more to the difference than size?

The English horn is essentially a scaled-up oboe, but the bassoon is
quite different in construction, fingering and even reed style.  The
only ways I recall EH differing from OB are the angle in the reed
tube and a sort of swelling at the bell.

	Vance
From: haynes@cats.ucsc.edu (Jim Haynes)
Newsgroups: rec.music.classical
Subject: Re: Transcriptions of famous pieces for guitar
Date: 13 Apr 92 17:42:52 GMT
Organization: University of California, Santa Cruz


After making the statement "I have already heard enough guitar music
for one lifetime" I happened to hear "Pictures at an Exhibition" in a
guitar arrangement.  Didn't make me want to change the statement, tho.
-- 
haynes@cats.ucsc.edu
haynes@cats.bitnet

"Any clod can have the facts, but having opinions is an Art."
        Charles McCabe, San Francisco Chronicle
Newsgroups: rec.music.classical
Subject: Re: Good Perf Major Schools?????
From: phoogenboom@eagle.wesleyan.edu
Date: 12 Apr 92 15:28:32 EDT
Organization: Wesleyan University

In article <CB.92Apr7104710@tamarack12.timbuk>, cb@tamarack12.timbuk (Chris Brewster) writes:
> Jennifer Barron writes:
> 
>    Hello, I am fed up with the conservatory that I am going to and I wondered
>    what some good, challenging, perf. major degree programs there are at some of
>    the schools in the US... I am interested in strings....cello,  to be specific
>    Anyone out there got any good colleges..(not just music colleges, though)
> 
> The choice is obvious: Indiana.
> 
> Chris Brewster
> cb@cray.com
> GEnie: C.BREWSTER7

While Indiana is certainly an excellent school, I would have to say that it is
not without its limitations.  Anyone has to weigh the limitations and strengths
of the various programs one is considering according to ones own needs.  I
would reiterate the IU is indeed an excellent program, especially for the
money, and urge you to CONSIDER application!   :)

Peter Hoogenboom
Indiana University School of Music
phoogenb@ucs.indiana.edu 
        @iubacs.bitnet
Xref: sparky rec.music.classical:5717 rec.arts.tv:9429
From: dkaffine@east.sun.com (Dave Kaffine - Sun BOS Hardware)
Newsgroups: rec.music.classical,rec.arts.tv
Subject: Theme music from TV show Wings?
Date: 10 Apr 92 20:56:03 GMT
Organization: Sun Microsystems, Inc.
NNTP-Posting-Host: worf.east.sun.com


The subject says it all.  The credits for the show only specify
Schubert - can anyone elaborate?

Please email replies to dkaffine@east.sun.com.  I'll post the
answer if there's any interest.


Dave
Newsgroups: rec.music.classical,comp.music
From: alexande@borland.com (Mark Alexander)
Subject: Re: Help, which instrument?
Organization: Borland International
Date: Thu, 16 Apr 1992 17:44:10 GMT


Those who believe they have little musical potential should read Frank R.
Wilson's _Tone Deaf and All Thumbs_.  Also check out John Holt's
_Never Too Late_, a book that changed my life pretty radically.  Both
of these books contain first-person accounts of the struggle against
feelings of inadequacy when first learning an instrument.  Check your
local library for the Wilson book; the Holt book just came back in
print this year.

I agree that people seem to possess varying levels of innate ability,
but this is no reason to abandon music.  There is plenty of room for
non-virtuoso musicians in this world.
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: Stravinsky and Prokofiev
Organization: Camosun College
Date: Sat, 11 Apr 1992 01:35:01 GMT

In article <s0ccdINNptv@agate.berkeley.edu>, c60c-4bl@web-4b.berkeley.edu (Demian) writes:
> 
> Hi, I'd like some recommendations and comments about recordings of Stravinsky's
> Rite of Spring and Prokofiev's two sonatas for piano and violin.  I have
> the CBS Masterworks recording of Rite of Springs conducted by the composer,
> but I'd like to buy another recording.  So far, I've been looking at
> two Monteux recordings, one on Pearl(1926?) and one on RCA(mono too???).


Deryk Barker
Computer Science Dept.
Camosun College,
Victoria, BC
Canada
From: sasghm@theseus.unx.sas.com (Gary Merrill)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 15 Apr 92 14:07:53 GMT
    <1992Apr14.185052.24764@Princeton.EDU>
Distribution: na
Organization: SAS Institute Inc.
Originator: sasghm@theseus.unx.sas.com
X-Bytes: 1717

In article <1992Apr14.185052.24764@Princeton.EDU>, roger@phoenix.Princeton.EDU (Roger Lustig) writes:
|> 
|> Fine.  What's your point?  WHENEVER there's an establishment,
|> governmental or private-sector, there will be bureaucrats with large
|> influence over what gets done.
|> 

My point, which by this time should be fairly obvious, is that what
you want to avoid is an *establishment* -- either private or government.
Letting people decide freely when, how much, and where they want
to contribute to art is how you do so.  What's the mystery?


|> So start something.   Tell your friends.

That's what I'm doing.

|> Partly self-serving, of course.  That's capitalism.  Again, what's your
|> point?  OF COURSE the people who have an interest in it will promote it.
|> Aside from their interest, they KNOW something about it.  

Capitalism is letting the market decide.  Compelling others, through
the force of government, to pay my bills while I develop what I think of
as "my art" is not capitalism by any stretch of the imagination.
The sort of lobbying done by those who favor government support of
the arts is precisely the same as that done by any other special
interest groups (oil, military hardware, farmers, etc.).   Let's see
it for what it is -- a special interest group wanting a subsidy for
their product.  When such lobbying is done by these other groups,
and when support legislation is passed, those now favor similar
support for the arts are among the first to decry it as foul.  Well,
if the shoe fits, ...

-- 
Gary H. Merrill  [Principal Systems Developer, C Compiler Development]
SAS Institute Inc. / SAS Campus Dr. / Cary, NC  27513 / (919) 677-8000
sasghm@unx.sas.com ... !mcnc!sas!sasghm
From: nishimur@nova.etdesg.trw.com (Scott L. Nishimura)
Newsgroups: rec.music.classical
Subject: Pachelbel's Suite in B Flat?
Date: 7 Apr 92 20:11:28 GMT
Organization: TRW Inc., Redondo Beach, CA
Originator: nishimur@

I'm trying to find a CD version of Johann Pachelbel's Suite in B Flat for
Strings and Continuo from "Musicalischa Erguttsong" (sp?), German for
"Musical Delight".  Anyone know how I can get a copy?  Thanks.

								  Scott
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: Mahler VIII
Organization: Camosun College
Date: Fri, 17 Apr 1992 19:12:10 GMT

In article <1992Apr17.061754.22138@news.Hawaii.Edu>, tholen@galileo.ifa.hawaii.edu (Dave Tholen) writes:
> With all the recent discussion of people's favorite recordings of Mahler's
> symphonies, I'm curious to hear what people think of a very recent
> recording of the Eighth by Shaw, Atlanta, and a bunch of choruses on the
> Telarc label.  The one thing it has going for it (at least for the cost-
> conscious) is that it has been put onto a single CD.  I haven't followed
> the thread in its entirety, so it's possible that this recording has
> already been discussed.  I would expect this recording to be at the very
> least acceptable and possibly exceptional, given Shaw's reputation.

It hasn't been discussed yet. I haven't heard it but it seems to have had
uniformly bad reviews. Shaw is an excellent chorus master but he has no 
track record with Mahler at all, and the 8th is one of the symphonies
which demands - IMO - the conductor to be steeped in the Mahlerian
sound world if it is to make sense. I can imagine that it would sound
as unauthentic as the Colin Davis performance I once had the misfortune
to hear in London.

The Kubelik is also on a single CD.
-- 
Deryk Barker
Computer Science Dept.
Camosun College,
Victoria, BC
Canada
From: rwilmer@gateway (R. Wilmer)
Newsgroups: rec.music.classical
Subject: Re: What in tarnation is "Vivace" in 3/2 time?
Date: 15 Apr 92 20:49:58 GMT
Article-I.D.: linus.1992Apr15.204958.1683
Organization: Mitre Corporation, McLean, VA

In article <lacesso.703358669@slave-lake> lacesso@cs.UAlberta.CA (Winslowe Lacesso) writes:
>92-04-15 (mercoledi)
>
 >Buon giorno, folks!
 >
 >A q for the musician types, if they'd be so kind:
 >
 >Recently ran across some suites (didn't have $ to pcopy, & don't recall
 >composer - probably some obscure Baroque dude) of which some mvmts were
 >marked "Vivace" but in 3/2 time. Lots of half notes, so I was willing to go
 >with half note = 160 or higher. They were nice tunes (jigs/gigues), but I 
 >was frustrated & puzzled. I don't really like reading 3/2; if it is to be
 >"Vivace" at a jig pace, why wouldn't it be written as 3/4 or 3/8 (or 6/8) or
 >something? Real question: how does one interpret a Vivace in 3/2 time? I have
 >a suspicion that 1/2 = 160 is unusual enough that I'm interpreting something
 >wrongly.

The easy question is why it is not in 6/8:  because it would then
have two beats instead of three.

Old music was often written with whole notes or half notes getting
the beat.  I remember sight-reading through a lot of four-part
renaissance vocal music in 4/1 time.

I certainly wouldn't worry about applying some later musician's idea
of a metronome marking for vivace.

Richard
Newsgroups: rec.music.classical
From: rwilmer@gateway (R. Wilmer)
Subject: Re: "The Crucible" (the opera)
Organization: Mitre Corporation, McLean, VA
Distribution: na
Date: Tue, 31 Mar 1992 21:23:37 GMT

In article <1992Mar31.035535.9017@galileo.cc.rochester.edu> ray@gawain.cif.rochester.edu (Raymond Sunessen Tuttle) writes:
>In article <1992Mar31.033214.26206@aero.org> marcus@aero.org (Leo Marcus) writes:
>>
>>
>>Who wrote it? Tell me all you know about it.
>>
>>Leo Marcus
>
>Robert Ward wrote it, and it's on CD: Albany Records TROY 025/26. That's
>all I know about it. Maybe someone else out there knows more.
>
I saw The Crucible a few days ago, and I think it is a very
good opera.  I like it better than the play, because I think
the forced compression (over a third of the play goes) keeps
the best of Arthur Miller's work and gets rid of what I found
to be the most tedious parts of some overlong scenes where
all action stopped except guilt-shoveling.

From a singer's viewpoint it offers an extroardinarily wide
assortment of roles that have good vocal and acting possibilities:
Abigail, John and Elizabeth Proctor, Hale, Danforth, Parris,
Rebecca Nurse, Titubah, The Proctors' maid (who replaces Abigail--I forget
her name), and Cheever. 

I don't know if Arthur Miller participated in adapting the
libretto, but it is first rate.

The music is tonal and melodic--some of it reminded me a little
of Samuel Barber's Vanessa.  The orchestral writing is excellent.

In my opinion it is one of the best American operas.

Richard

Xref: sparky rec.music.classical:5748 alt.activism:7577 alt.censorship:3255 alt.conspiracy:6282 talk.politics.misc:17880
From: ksand@apple.com (Kent Sandvik)
Newsgroups: rec.music.classical,alt.activism,alt.censorship,alt.conspiracy,talk.politics.misc
Subject: Re: HOLOCAUST MYTHS
Date: 11 Apr 92 02:24:21 GMT
Organization: MacDTS Mongols

> In article <DF4NiB1w164w@b-cpu.UUCP> pfaust@b-cpu.UUCP (Pete Faust) writes:
>  
>      Germans and we of German descent are sons and daughters
> of Bach, Mozart, Beethoven, Schubert, Brahms, Wagner, Haydn,
> Handel, Humperdinck, Johann and Richard Strauss, Berg,
> Webern, Hindemith, Schnittke, Goethe, Schiller, Kant, Hegel,

Einstein is not worth mentioning I guess. He's, eh, American!

Cheers,
Kent
Newsgroups: rec.music.classical
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: Re: the hi-fi buff thread
Organization: The Communications Research Centre, Ottawa, Canada
Date: Wed, 8 Apr 92 01:54:36 GMT

In article <1992Apr07.140611.18012@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>During the recent thread about hi-fi equipment I kept quiet since my system
>is not exactly state of the art.  In fact, my amplifier has been making
>
>
>The replacement is a Yamaha receiver that generates a lot more power than
>the old stuff.  Now the 1969 vintage speakers sound terrific, and I've gone
>back to playing LP's, many of which sound *much* better than almost any CD
>
>I am in the camp that values performance over sound, but I've just moved my
>tent a little closer to the other camp.  %^)  Wow!!  What a difference!
>
[Many omissions in above]

I am doing some perceptual research in audio at work and got some
extremely high end equipment to carry it out. So, I've had a good
chance to compare my mediocre system at home with the one in my lab.

The major difference to hit me is that the system at work is so good
that one is almost unaware of the system per se. Instead, the focus
quickly shifts to the source materials. I have very mixed feelings
about this. While this ultra high end system is truly a joy on
excellent sources (CD's, LP's, tapes, etc.), most sources suffer
severe flaws. This results in a great deal of dissatisfaction and I
find it difficult to enjoy the music without being far too sensitive
to the technical flaws in sources. This seems to explain why
audiophiles become so picky. At the same time, my real interest is in
music. I consider myself a musicophile, not an audiophile. So, at the
moment, my feeling is that if I had a system as good at home, I would
enjoy the music less. Perhaps, then, great audio can detract from the
pure joy of great music. On the other hand, of course, a mediocre or
poor system can be musically intolerable too. A sensible compromise
seems to be not to get too far into audio if you are going to tolerate
the vast imperfections which presently exist in source materials.

As another observation, the music I am able to enjoy most on the super
system is music for which I have the weakest experiential references.
Thus, drum music from Africa, or gamelans, etc., can be a riveting
experience on super audio. On Western music, however, I have visions
of pianos as wide as football fields coupled with miniature string
sections, etc. - image distortions that are related to a lifetime of
knowing what "the real thing" sounds like.

-- 
==========================================================================
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
Newsgroups: rec.music.classical
From: ajm@iconix.oz.au (Andrew Mack)
Subject: Transcriptions of famous pieces for guitar
Organization: ICONIX Corporation World Headquarters
Date: Mon, 13 Apr 1992 04:01:19 GMT

Hi folks,

Anyone have any information on famous pieces of music arranged
for the classical guitar?

I once heard the finale from Stravinsky's "Firebird" suite on guitar,
but don't know who played it. Can anyone help?
Newsgroups: rec.music.classical,comp.music
From: hyx1@cunixa.cc.columbia.edu (Harry Y Xu)
Subject: Help, which instrument?
Organization: Columbia University, New York City
Date: Wed, 15 Apr 1992 03:05:28 GMT

Hi,
	I plan to put up an effort to learn an instrument over the Summer.
I just want to entain my ear (amongst other body parts); just want to learn
an easy-to-pick-up instrument.
	Can somebody give me advise on which instrument is the easiest to 
learn?  I know the Q might sound stupid, but can't think of better wording.

PS.	I sort of like woodwind and brass, but not sure.
	I have no musical potential/intellence.
	I'm a poor college student without much $ to spend on it.

Any advide creatly appreciated.  Please email.
====================================>.sig <===================================
  Harry Xu  (KB2LHA)	   Internet:  hyx1@cunixb.cc.columbia.edu
 *Columbia University Amateur Radio Club (CUARC-<>-W2AEE)  *Founded, 1913*
 *The American Radio Relay League:  Amateur Radio >>---> A National Resource
 *New York Road Runners Club  -&-  Columbia University Road Runners Club 
 ::::::"Go run.  Nothing else can make you feel as good as making love."  --ME
====================================> end <===================================
Newsgroups: rec.music.classical
Date: Thu, 16 Apr 1992 17:16:48 -0400 
From: Nicole Marie Brockmann <nb0o+@andrew.cmu.edu>
Subject: Re: Kurt Weill's "Street Scene" on London

I also think that "Street Scene" is an underperformed work which
deserves more attention than it traditionally receives.

However, I have to disagree about the quality of the London recording.
While I think the vocal selections are certainly of high quality, the
recording is almost spoiled for me by the *horrible* acting. The singers
seem like they were just reading the script, not portraying their
characters. When I play the recording, I tend to skip the dialogue and
go straight to the music.

Nicole Brockmann
nb0o@andrew.cmu.edu
From: lung@oasys.dt.navy.mil (Terence Lung)
Newsgroups: rec.music.classical
Subject: Re: Paganini's 4. concerto
Date: 10 Apr 92 22:43:44 GMT
Reply-To: lung@oasys.dt.navy.mil (Terence Lung)
Organization: Carderock Division, NSWC, Bethesda, MD

From: leifko@ifi.uio.no (Leif John Korshavn)
>Anyone know of good recordings of Paganini's 4. violin
>concerto? Here in Norway, it's absolutely impossible to
>get this concerto in the record shops.
yes.  I'm not sure if it's good but it's the only one 
I know of that exists.
>I know that Salvatore Accardo has done the 1., and the 2.
>in one CD, and the 5. and 6. in two separated CDs including
>i.e Le Streghe, La Primavera etc. Does anyone know if he has
>recorded the 3. and 4. ?
Yes.  He has.  They're together on a single CD.

I have one.
Terence

 
Newsgroups: rec.music.classical
From: pdelafos@djulien.dsd.es.com (Peter Delafosse)
Subject: Re: Sibelius Violin Concerto
Reply-To: pdelafos@djulien.dsd.es.com (Peter Delafosse)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Mon, 13 Apr 92 18:48:53 GMT

Terje Rydland writes:

> Beethoven, Brahms, Tchaikovsky and Mendelssohn - of course. Everybody
> mentions them. I agree that they are great, but what about some of the
> more "modern"? Personally I would add
> 
> Schostakovitch 1. , Elgar and one of Prokofievs.
> 
> Any other suggestions?

Bartok - Concerto No. 2 for Violin and Orchestra

Peter DeLafosse
From: matsd@LINK.Physchem.KTH.SE (matsd@physchem.kth.se (mats dahlgren))
Newsgroups: rec.music.classical
Subject: Re: Stravinsky and Prokofiev
Date: 15 Apr 92 20:08:07 GMT
Reply-To: matsd@LINK.Physchem.KTH.SE
Organization: Royal Institute of Technology, Stockholm

In article <s0ccdINNptv@agate.berkeley.edu>, c60c-4bl@web-4b.berkeley.edu (Demian) writes:
>
>Hi, I'd like some recommendations and comments about recordings of Stravinsky's
>Rite of Spring and Prokofiev's two sonatas for piano and violin.  I have
>the CBS Masterworks recording of Rite of Springs conducted by the composer,
>but I'd like to buy another recording.  [...] I'd like comments on these or
>suggestions of other recordings, preferably stereo.  [...]
>
>-Demian

I can recommend a recording of Stravinsky's Rite of Spring recorded by
the Swedish Radio Symphony Orchestra, Sixten Ehrling conductor.  It is
recorded by the Swedish record company BIS (BIS-CD-400).  This was
digitally recorded in 1988. 

/mats d.

********************************************************************************

  mats dahlgren 
  Dept. of Physical Chemistry		Mail:	matsd@physchem.kth.se
  The Royal Institute of Technology	Phone:	+46 8 790 8595
  S-100 44  Stockholm, Sweden           Fax:	+46 8 790 8207

              All opinions expressed above are private opinions.
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: ORCHESTRAS! FUND RAISING (concerts and events)
Organization: Camex Inc., Boston MA
Date: Tue, 14 Apr 1992 00:02:38 EDT

In article <30MAR92.21072641@sklib.usask.ca> supplies@sklib.usask.ca writes:
>Anyone with fresh ideas about fund raising? Please reply.
>We run an annual marathon called Beat Beethoven, a used record and music
>sale, and two pops concerts.
>Do you know of any orchestras that have done something really inovative?

This may not be exactly what you had in mind.  I heard a piece on NPR the
other morning about a chamber orchestra called something like the
Mid-Atlantic Chamber Orchestra, that calls four different cities home:  St.
Mary's, MD; Bristol, TN; Somewhere, VA; and Martinsburg, WV.  

The group is based in the D.C. area, and they travel to each of these
cities about once a month for a run of several days of music-making.  They
stay in people's homes, which has turned out to be a terrific way for the
communities to participate in supporting the arts.  People take pride in
having "my cellist" etc.

None of these cities could support a full-time organization.  The musicians
are made welcome everywhere, and the audiences are very enthusiastic.  It
sounds like a dedicated group who found an innovative way to make a living.
I'm not sure what position the person being interviewed had, but she
pointed with pride to an instance of ticket-scalping in Bristol.  

Chris Ischay
chrisi@bos.camex.com
Newsgroups: rec.music.classical