HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.classical

Hello all,
	  I would greatly appreciate your recommendations for recordings
	  (available on CD) of Wagners "Die Meistersinger". 

	  thanks,
		  Simon.
From: ahsiung@bbn.com (Anita Hsiung)
Newsgroups: rec.music.classical
Subject: Re: acoustic pianos versus digital pianos/keyboards
Date: 13 Aug 92 17:17:22 GMT
Reply-To: ahsiung@labs-n.bbn.com (Anita Hsiung)
Organization: Bolt Beranek and Newman Inc., Cambridge MA
NNTP-Posting-Host: bbn.com

Margaret Mikulska writes:
>I write:
>>
>>Why not use digital sounds to make digital sounds? 
>
>I beg your pardon?

What I meant was, if you need a sound for a UFO, or a heavy object
falling and need speclial effect sounds, or just basic funky sounds
for popular music, using digital effects are fine.  I like the basic
"synth" and "EP" sounds that you can select on these keyboards.  What
I don't like are the "Piano 1", "Piano 2", "Grand Piano" choices.

>>I've never understood the _simulation_ of acoustic vibrations.
>
>What is it that you don't understand?  The _principle_ or the _purpose_
>of the digital simulation of mechanical vibrations?  (No sarcasm
>intended.)

The _purpose_.  When I went to a Kenny G concert and he played on the
sax with just a piano accompaniment, the guy had a digital piano and I
just didn't like the sound of it.  I'm not good at describing what it
is I don't like, maybe just the too-similar acoustics but not quite
there.  I can always pick out the digital piano and the sound bothers
me.  I'm not complaining about the electric piano sound that everyone
uses now, musicals and whatnot, just the ones that are too close to
the piano.

Someone else had mentioned bad habits.  It's kind of like flying a
plane.  If you are used to hydraulics behind your rudders and you
start flying a fly-by-wire jet that simulates the resistance of
hydraulics, then you come _back_ to the real thing, it's gonna be
slightly different, no matter how good the simulation.  I've played on
digital pianos that had excellent action for keys, pedals, everything,
but getting back onto real piano still takes a readjustment.

	-- Anita --


---------------------------------------------------------------------------
| Anita Hsiung       | "See how easy life can be?" -- Johnathan Raven     |
| ahsiung@bbn.com    |                                                    |
| BBN Canoga Park    | "Someday we'll look back on this moment...and      |
| California, USA    |  run smack into the car in front of us."  -- Ski   |
---------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: mikulska@astro.Princeton.EDU (Margaret Mikulska)
Subject: Re: Reger's Song of the Hermit
Originator: news@nimaster
Organization: Princeton University
Date: Sun, 23 Aug 1992 05:22:19 GMT

In article <1992Aug22.233351.3248@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:
>>In article <CB.92Aug21175058@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>
>>>In one of those situations of hearing to music without knowing its title
>>>or composer, I heard Reger's Song of the Hermit (I was almost asleep so
>>>I hope I have the info right).  I was interested to hear a full-blown
>>>late-romantic orchestral song that I didn't already know (since there
>>>aren't many such works), and was totally stumped as to its identity.  It
>>>was good stuff!  The recording was Fischer-Dieskau sounding a bit old,
>>>but good.  Anyone know this work?  Other recordings?
>
>Actually, I bet it was the cantata "Der Einsiedler," a fairly late work
>of Reger, which, unlike the Boecklin-Suite, calls for a singer.  There's
>a Requiem from around the same time.  Tis is from Reger's heaviest
>phase, with, among other things, strings divided into muted and unmuted
>choirs, but sitting together, and all that polyphony.

Now that you (Roger) told us the original title, it rang a bell with
me, and it said: "Orfeo!".
To be specific, this song is recorded - with Fi-Di, of course - on
the Orfeo label.  The CD includes:
	* Der Einsiedler
	* Requiem
	* Hymnus der Liebe
	* An die Hoffnung
Hamburg State(?) Phil., dir. Albrecht, Orfeo 209.901.

-Margaret
mikulska@astro.princeton.edu
From: pajerek@telstar.kodak.com (Don Pajerek)
Newsgroups: rec.music.classical
Subject: re: Slatkin's Rachmaninoff
Date: 20 Aug 92 18:56:03 GMT
Article-I.D.: kadsma.1992Aug20.185603.23982
Reply-To: pajerek@kadsma.kodak.com (Don Pajerek)
Distribution: usa
Organization: Digital Equipment Corp. - Telstar

In article <1992Aug19.020722.4751@hubcap.clemson.edu> jtbell@hubcap.clemson.edu (Jon Bell) writes:
>While browsing through a record store today I came across two Vox
>Box CD sets of Rachmaninoff's music, with the St. Louis Symphony
>conducted by Leonard Slatkin.  One set contains the symphonies, the
>other contains various orchestral works (The Bells, etc.).
>
>I was tempted, but I'm aware that Vox Boxes are all over the map as
>far as quality goes.  Are these two sets reasonable choices for
>someone seeking to fill a gap in his collection cheaply?  Are they
>as good a deal as, say, Skrowaczewski's Ravel from the same source?
>
>Jon Bell / Dept. of Physics & Computer Science / Presbyterian College
>Clinton SC 29325 / email: jtbell@presby.edu

The Slatkin Rachmaninoff box (and Prokofiev as well) are part of the
famous Nickrenz/Aubort VOX series (the Ravel you mention is, also).
You simply can't go wrong for the price.

- Don Pajerek
Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: Wanted: A crash course in composer's styles
Organization: University of Western Australia
Date: Sat, 15 Aug 1992 03:24:06 GMT

eb11@quads.uchicago.edu (Ernest Barreto) writes:
: 
: To me, Brahms invariably sounds like he tried REALLY REALLY HARD
: to write good music.
: 
: This is in contrast to Mozart, whose music sounds like it was a
: breeze for him to compose.
: 
: Comments?

It's funny, but Mozart has always seemed to me to be the musical
equivalent of architecture - not quite a "machine a ecrire musque" but
the nearest thing. (Flanders said "Hegel said architecure is frozen
music, Mr Swann's music has been favourably compared with melted
architecture" 

Brahms on the other hand I feel is spelunking music, looking for
passages off the Bach and Beethoven central cavern, in the hope of
finding another such a one. (Pretty much the same as Wagner, in the same
cavern, each with a lantern). Without wishing to strain the guy rope on
an already rickety metaphor, I see Mozart spending most of his time in
the middle of the cavern, quite happily doing his bit, and at the end of
his life (when the picnic basket's empty?) going and doing some
magnificient caving himself.

memo to netlanders: poetic license is still valid on the net, and cheap
Wittgensteinian analyses of said metaphor will be ignored, (critical) posts
will not be replied to, and flames will be nimbly o'erlept.
Newsgroups: rec.music.classical
From: bil@cmn16.Stanford.EDU (Bill Schottstaedt)
Subject: Re: Bach and religious feelings
Organization: DSO, Stanford University
Date: Thu, 20 Aug 92 16:35:00 GMT

In article <JWA.92Aug20020212@vipunen.hut.fi> jwa@vipunen.hut.fi (Jyrki J  
Wahlstedt) writes:
>... We played a cassette containing Brandenburg Concertos (I don't  
remember
>   which one was on, say 4th). Suddenly one of the Tanzanians asked:
>   "Is someone singing or what's that?".

I have a cassette player like that too.
Newsgroups: rec.music.classical
From: mgfrank@avernus.com (Marc G. Frank)
Subject: Re: Opera Film Fantasy (OFF)
Organization: Maryland Appreciation Society
Date: Tue, 18 Aug 1992 16:40:17 GMT

In article <9220.9488KSSHC@CUNYVM.BITNET> Ken Sherrill <KSSHC@CUNYVM.BITNET> writes:
>I am now moving on to the challenge of a Ring cycle. Having seen Dan Ackroyd's
>Nixon, I know he would be the perfect Albericht. This led me to think of Eddie
>Murphy as Loge and Woody Allen as Mime.

How could you possibly have missed Dan Quayle as Siegfried?  And how
about Arnold Schwarzenegger for Fafner?



Marc G. Frank                                      mgfrank@avernus.com
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
    "Just because I don't care doesn't mean I don't understand."
                           Homer Simpson
From: rchrd@netcom.com (Richard Friedman)
Newsgroups: rec.music.classical
Subject: Re: John Cage is Dead
Date: 18 Aug 92 01:59:20 GMT
Organization: Applied Parallel Rsrch (Berkeley)

Thanks go to Mark Gresham for bringing into this discussion some
of the details of Cage's death.  I had also heard that John had had
a minor stroke recently, which seemed to add to his frailty.  I interviewed
him here in Berkeley in January and was similarly taken by how weak he
seemed.  Yet, this June, while I was on vacation in Florence, there
before my eyes was a poster declaring a Cage Concert that night.
He had a very busy schedule and was all over Europe this spring and
summer, and was about to be feted with a 3 week festival on his
real birthday sept 5 in Frankfurt.  I wonder if it was all these
birthday celebrations that actually proved fatal!

Having spent too few hours over the past 25 years with John Cage,
all I can say is that, regardless of what one thinks of his music,
the man was extremely impressive.  By that I mean that he always made
an incredible impression on you.  An impression that will last a lifetime.
We are all reduced by his passing.
-- 
/\=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=/\
\/Richard Friedman (510)528-7055  |  rchrd@netcom.com    
/\Applied Parallel Rsch (Berkeley)|                          /\
\/=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=\/
From: RHASKINS@UMAB.BITNET (Robert Haskins)
Newsgroups: rec.music.classical
Subject: Re: minimalism
Date: 12 Aug 92 14:11:54 GMT
 <1992Aug7.234320.1453@fid.morgan.com> <1992Aug11.062132.18001@credence.com>
 <1992Aug11.181001.19632@cgh.cgh.com>
Organization: University of Maryland at Baltimore

From: paul@cgh.cgh.com (Paul Homchick)
Subject: Re: minimalism
Date: 11 Aug 92 18:10:01 GMT

Paul Homchick writes:

In article <1992Aug11.062132.18001@credence.com> jeffw@or.credence.com (Jeff
Winslow) writes:
>You go around
>worrying about what a bunch of vague shadows might think about it, you go
>crazy.
>                                               Jeff Winslow

Possibly.  Or perhaps you might get another commission.  I wonder if
there is a correlation between more compositions coming from
professors at state-supported institutions and the gulf that opened up
between composers and audiences in the middle of this century?
--
The gulf unquestionably exists, but I think it has been too often used as
some sort of validation to the anti-academic composers.  In the old days,
when Glass and his confreres were unknown, they pointed to this disparity,
this supposed gulf between artists and audiences, and their music proposed
a remedy.  Now many of them (though certainly not all) make a handsome living
from commissions alone.  Glass is like a factory, churning out works -- I think
he has enough commissions to tide him through to the end of the decade, or at
least for five years. (My point will be clear in a moment.)

A couple of years back (1989 or 1990?), Elliott Carter's four string quartets
were performed at Tully -- the place sold out; there was a line around
Lincoln Center waiting to get in!  Who were these people?  Elliott's friends
from the academy?  Not entirely, I'm reasonably sure.

And here's my point.  The success of a composer has not to do with his affilia-
tions in the academy, or the way his music is seen as a communicative vehicle
with "the public" (whatever _that_ is).  It has to do with the expressive
and intellectual vigor of his music; and often it has also to do with his
own interpersonal skills and marketing savvy.  As an example of the latter,
I point to Michael Torke -- his music is not substantially different than
any of a dozen other composers I could name, but he is well placed, knew
important people, etc.  I just hope that we can somehow keep the music of
lesser-known composers alive long enough to give them their due.

I've not been writing very coherently on this subject, but I write because
the issues around our 20th century music and its relative popularity or un-
popularity among "the public" are extremely complex, generated by a network
of considerations economic, political (in the "who you know" sense of the
word), and artistic.

Bob
From: henning@acsu.buffalo.edu (Karl Steele Henning)
Newsgroups: rec.music.classical
Subject: Re: WEBERN
Date: 13 Aug 92 20:37:20 GMT
Organization: UB

Haus Der Luge writes:

>Does anybody here have the BOULEZ/WEBERN box set?

>I understand it's complete save for WEBERN's early pieces that did not 
>have opus numbers.

Yes, indeed:  Opp. 1 through 31, including the version of the Op. 5
Five Movements for String Quartet, for String Orchestra;  the
orchestration of the Bach Ricercar a 6;  and an archival recording
of Webern himself conducting his orchestration of some of Schubert's
German Dances.  3 cds, 70+ minutes per disc.

These are the only recordings I have heard of most of his work,
particularly the two cantatas, the quartet, the concerto, &c. --
so I have nothing particular to compare these to, although I
think well of them.  And that the recordings seem to me to
compare well, in the case of those pieces where I /have/ heard
other recordings (the Passacaglia Op. 1, the 6 Pieces Op. 6,
the Bagatelles Op. 9, the 5 Pieces Op. 10, the Symphony Op. 21,
the Op. 25 Songs).

I'm very happy with it indeed.

kph
-- 
My answers are rumored to reflect my own highly personal  []  Karl Prescott Hen
assortment of loosely organized interests, and may prove  []  57 Glasgow st /ni
 entirely unsuitable for YOU;  but what did you expect?   []  Roch NY 14608 /ng
Xref: sparky rec.music.classical:11102 soc.motss:34838
From: drp@dosbears.UUCP (David R. Preston)
Newsgroups: rec.music.classical,soc.motss
Subject: Re: DERRINGDESNIEBELUNGENSIEGFRIEDSTODVOLSUNGASAAGAEDDA
Date: 12 Aug 92 05:48:54 GMT
Reply-To: drp@dosbears.uucp
Organization: DosBears

In article <92224.194108KSSHC@CUNYVM.BITNET> KSSHC@CUNYVM.BITNET (Ken Sherrill) writes:
>The world premiere of DERRINGDESNIEBELUNGENSIEGFRIEDSTODVOLSUNGASAGAEDDA (The
>Ring, Our way) with supertitles, a multi-media performance/installation by Jack
>Waters and Peter Cramer will occur on Friday, Sept. 11 at 9 PM (A second per-
>formance will take place on Sunday, Sept. 20, 1992 at 7 PM.)  

I have this horrible feeling that there is only, like, half an
hour between the first show and the second show :-)

--
         David R. Preston   drp@dosbears.uucp dosbears@netcom.com
              Information gladly given but safety requires
               the avoidance of unnecessary conversation.
            D. R. Preston 584 Castro St. #614 SF CA 94114 USA
Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: A quick guide to different musical periods...
Organization: Helsinki University of Technology, Finland
	<1992Aug15.143823.11963@cs.rochester.edu> <l8ql2sINN74p@calvin.usc.edu>
	<1992Aug15.221716.1434@Princeton.EDU> <will.714061500@ogre>
	<CB.92Aug18130216@tamarack13.timbuk>
Date: 20 Aug 92 01:21:24

In article <CB.92Aug18130216@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

   William Sadler writes:
      The problem I had was when they played Mahler's Organ Symphony.
   Please identify this work further.  The Eighth?

   Chris Brewster
----------------------
  Yes, I wondered the same thing myself and came to the same conclusion.
  I can't remember that Mahler would have used organ in any other symphony.
  Just that the nickname is not Organ Symphony, but "Symphonie der
  Tausend" (Symphony of a Thousand) (that you probably know).
--
!
!	Jyrki Wahlstedt
!		jwa@vipunen.hut.fi
!
!  Everything not eternal is eternally out of fashion
!
From: papageno@bluemoon.rn.com (Andrew Armstrong)
Newsgroups: rec.music.classical
Subject: Lux aeterna
Date: 15 Aug 92 04:41:45 GMT
Organization: Blue Moon BBS ((614) 868-998[024])


 Has anyone else noticed that the Lux aeterna from Mozart's Requiem seems
to repeat musical themes from earlier in the piece?  Every time I hear
the Lux aeterna I think I pick up parts from possibly Confutatis or 
Lacrimosa.  Is it just me, or has anyone else also thought this?

Der Vogelfaenger bin ich ja!
From: rwh@visual.com (Rob Holzel)
Subject: Re:  Tower Records : Sale
Organization: Visual
Date: Mon, 17 Aug 92 18:47:42 GMT


I wrote:

>>If I remember correctly, you have to
>>go to another address altogether to look at clearance CDs and 
>>cutouts.  

Steve Apter of Moron Stanley & Co. replied:

>Yes, and that 25 yard stretch along 4th street is considered
>one of the most dangerous locations in the world, not excepting
>Tehran or Baghdad.

Hey, a count against it is a count against it.

>>classical department in the NYC city Tower is about half that
>>of the one in Boston, 

>Yes, but we have *two*, so ...

Well, for that matter, so do we.  So what's the point?  Mine was
that the general price wars in Boston actually make it a better CD
market than NYC overall.  A friend of mine just got the Goreki Third
for $8.99.

>OK, I'm convinced.  I'll start shopping there immediately.

Don't do me any favors, putz.



Newsgroups: rec.music.classical
From: sims@possum.den.mmc.com (John Sims)
Subject: Re: Telefunken records
Keywords: Telefunken
Organization: Martin Marietta Astronautics, Denver
Date: Thu, 20 Aug 1992 16:38:41 GMT

jhill@gallstone.bucknell.edu (HILL, S JACKSON) writes:

>I am trying to track down a Telefunken recording Tel 6.28575.  I do not know
>title or performers, but it would seem to be an anthology of Volkslieder or
>something similar--perhaps short choral songs of various sorts.  Does
>Telefunken still produce or have they been sold to another company?  Is there
>anyone reading this who is in Germany and could telephone a local record shop
>for me and post or e-mail any information?  Any info would be welcome.
>Thanks.   J. Hill    (jhill@bucknell.edu)

Along these lines, if Telefunken is still in business, do they have CDs
of earlier works?  I have an old, worn LP set of JSB organ works,
entitled "Dal Alte Werk".  One of my favorite sets, but it has
deteriorated to the point that I can hardly bear to listen to it
anymore.  The local CD shop has a very limited set of JSB organ stuff,
and doesn't even come close to the Telefunken set.  Any ideas or
suggestions?  

Thanks in advance,
John 

-- 
John Sims    sims@pogo.den.mmc.com
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Not-quite-unisons in piano tuning
Date: 18 Aug 1992 18:11:04 GMT
Organization: CS Division, UC Berkeley
Distribution: world
NNTP-Posting-Host: mahogany.cs.berkeley.edu

In article <CB.92Aug18120223@tamarack13.timbuk>, cb@tamarack13.timbuk (Chris Brewster) writes:
|> Vance Maverick writes:
|> 
|>    [Weinreich]
|> 
|> This was also written up in Scientific American, and reprinted in their
|> collection entitled (I think) The Physics of Music.  I suspect the
|> author is the same guy because it was around the same year.

Yes.

|> This source might be easier to find than JASA.

If you're not at a university; and it will certainly have fewer scary
equations.  (Scary to me, anyway -- never did really finish the
article.)

The last time this came up in conversation for me was at the Just
Intonation Network, where a week or so ago I went to hear Michael
Harrison.  Harrison is a La Monte Young disciple (and student of
Pandit Pran Nath, like everybody who's anybody in that little world);
he's the official piano tuner for the "Well-Tuned Piano".  He was
promoting his own new CD, performed on a specially modified piano,
which he has set up so that two tunings are available, each played on
single strings -- the leftmost bzw. rightmost of the standard set of
three.  The sound is strikingly different from the normal piano, and
not just because of the tuning.  The music?  Well, it's not great.  He
uses the tuning sensitively, but the material is mostly cliche'.

	Vance
Newsgroups: rec.music.classical
From: stefanb@delos.stgt.sub.org (Stefan Bechtold)
Subject: Extraordinary CDs
Date: Fri, 21 Aug 1992 14:03:04 GMT
Organization: Delos Stuttgart, Germany

Hi !

I'm looking for unusual CDs of any kind. I'm often looking for a gift
for some friends, e.g., and searching for some extraordinary stuff.

What do I mean with unusual, extraorinary CDs (or records...) ?
Well, any recordings which are not well-known but interesting, 
e.g. some very old recordings or totally unknown, but interesting
music or anything else you think it's unusual...

An example:
Alessandro Moreschi - The Last Castrato
It's the only recording of an eunuch (actually Moreschi was is the last
known castrato) made in 1902 and 1904 (one of the first recordings at 
all). Music for eunuchs was very popular in the 16th to the 19th 
century. It's very interesting because of the totally different 
kind of voice of the eunuchs.

The CD with pieces of Mozart,Bach,Rossini, Palestrina... and a
recording of Pope Leo XIII. made in 1903 is published in
Great Britain, Opal CD 9823.

Or the CD with antique greek music mentioned in rec.music.classical
lately.

If you know some CDs or records... of this kind, please mail it to me. 
Any hints would be greatly appreciated. I'll post a summary if wanted...

Thank you in advance,
Stefan
-- 
+ Stefan Bechtold # stefanb@delos.stgt.sub.org # Voice +49 711 813240 +
++++++++sed nemo potuit tangere: merda fuit ! (Martial III 17)+++++++++
Newsgroups: rec.music.classical
From: faiman@m.cs.uiuc.edu (Michael Faiman)
Subject: Re: Just Intonation Network
Organization: University of Illinois, Dept. of Comp. Sci., Urbana, IL
Date: Fri, 14 Aug 1992 15:10:37 GMT

haack@iscsvax.uni.edu writes:

>In response to a request (OK, so I was looking for an opportunity), here's some
>info on the Just Intonation Network, taken from one of its publications:
             ^^^^^^^^^^^^^^^

    Is their motto, "Just intone" ?

Sorry, I couldn't resist.  My equal temperament got the better of me.

 -- Mike Faiman, Urbana		faiman@cs.uiuc.edu
Newsgroups: rec.music.classical
Subject: Re: Parsifal
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Saturday, 15 Aug 1992 19:48:14 EDT
Organization: City University of New York/ University Computer Center

About two months ago, I ran into a friend of mine in the Met chorus -- just
returned from the Seville performances -- who told me they were wrapping up
the Parsifal recording sessions at the time. I would estimate release within
a year.

Someone must have a tape of the Rysanek/Vickers/Levine Met broadcast. To say
the least, neither Vickers nor Rysanek was still in prime vocal shape, but they
still conveyed their understanding of their roles (pun intended).
Newsgroups: rec.music.classical
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Re: Stephen {Bishop}{-}{Kovacevich}
Organization: Massachusetts Institute of Technology
Date: Thu, 20 Aug 1992 20:38:25 GMT

When he started making the name change a few years ago, the reason given is that
there was another up-and-coming musician named Stephen Bishop, so SB-K became SK
to avoid confusion with someone else.