HDTenEightyP/NetNews huggingface dataset:
From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Newsgroups: rec.music.classical
Subject: Music by Paul Lansky on Bridge Records - an appreciative review.
Date: 14 Dec 92 23:13:33 GMT
Organization: University of Rochester (Rochester, NY)

I was pleased to see that Webster's Ninth New Collegiate Dictionary
defines music as "the science or art of ordering tones or sounds in
succession, in combination, and in temporal relationships to produce a
composition having unity and continuity."  Of course unity and 
continuity are subjective, and the word "ordering" implies intent, but
otherwise there is no reason to suppose that the chirping of crickets or
the clacking of machinery are not music, in a sense. 

In his own words, composer Paul Lansky writes music which tries to
"make the ordinary seem extraordinary, the unmusical, musical  ... [and
tries] to find implicit music in the worldnoise around us."  On his
charming new CD, "Homebrew" (Bridge Records BCD 9035), Lansky's
sources of worldnoise include sounds from the kitchen ("Table's Clear"),
automobiles ("Night Traffic"), bedtime stories ("Now and Then"), a
suburban shopping mall ("Quakerbridge") and clapping ("The Sound of
Two Hands"). 

Lansky samples sounds of interest with his digital tape recorder and
feeds them into his NeXT computer where they are then processed,
edited and mixed. He also enlists the aid of his family:  "Table's Clear"
contains spontaneous percussion (including burps, both discrete and
discreet) provided by his sons Jonah and Caleb, and "Now and Then"
features his wife Hannah reading dozens of time-oriented phrases
which commonly occur in fairy and folk tales.  The former work creates
an intricate, engaging, gamelan-like sonority that would please Lou
Harrison, and the latter work is dreamy and soothing, as is appropriate
for the source material. 

"Quakerbridge" and "Night Traffic" are more threatening works, but in a
melancholy way.  The sounds of families wandering in a shopping mall
(lost? limits exceeded on their credit cards?) evoke dread and
nostalgia in equal parts, and the processed passing of cars on a
four-lane highway at night reminds us of the trust we place in these
speeding coffins of steel. 

The final piece on the disc, "The Sound of Two Hands," is a cheerful
antidote to these two bleaker works.  Here, using the primitive
machinery of their hands, Lansky and collaborator Jim Moses create an
impressive mosaic of rhythms and timbres which brings the CD to a
positive and heartening close.  

With intriguing music, excellent engineering (the bass on this CD is
especially tight), intelligent annotations, and as usual for Bridge, the
delightful cover art of P. Craig Russell, this disc would be a good and
off-beat holiday gift for music lovers who don't think that they like
contemporary classical music, to say nothing of those who do like it. 




--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).
From: kby@cco.caltech.edu (Kimo B. Yap)
Newsgroups: rec.music.classical
Subject: Re: favorite endings
Date: 17 Dec 1992 23:46:56 GMT
Organization: California Institute of Technology, Pasadena
Distribution: na
NNTP-Posting-Host: alumni.caltech.edu

graziano@ravel.udel.edu (Lisa Marie Graziano) writes:


>Brahms, symphony #1
>Brams, piano quintet in...in... oh no! I can't remember! I'll look it up.
>(A minor, maybe?)
>Beethoven, end of 1st movement of "Tempest" sonata. 

f minor, my favorite key.-kby
Organization: University of Maryland at Baltimore
Date: Thursday, 17 Dec 1992 12:56:52 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject: Re: Schubert
 <92351.102652RHASKINS@UMAB.BITNET> <BzDBE4.Jy9@news.udel.edu>

Thanks, Jon, for the info on the Hyperion set.  I confess I don't
read as many record reviews as I probably should and didn't know
anyone who had really had a listen to the discs.  Of the ones
currently available, are there any must-have-right-aways?

Bob
Newsgroups: rec.music.classical,alt.flame
From: krobinso@orchid.crayola.cs.psu.edu (Kenneth J Robinson)
Subject: Re: why no women composers (was Re: FINAL FINAL THOUGHTS !!
Organization: Penn State Computer Science
Date: Sun, 13 Dec 1992 21:10:39 GMT

In article <1992Dec10.172342.28569@murdoch.acc.Virginia.EDU> rwd4f@poe.acc.Virginia.EDU (Rob Dobson) writes:
>> ted@dgbt.doc.ca (Ted Grusec) writes:
>
>>Creative activity, of the composing and other sorts, is all in the
>>testosterone, and not in culture.  Read Camille Paglia.
>
>
>with all due respect, mr grusec, this statement is pure, unmitigated
>horseshit.
>
>there is more to life than penis and testicles, really.

This reminds K e n of a familiar expression: "Pot. Kettle. Black."
Way to go, Robbie-Dobbie!

K e n   R o b i n s o n
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Dresden was Re: One-work-composers
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Fri, 18 Dec 1992 05:26:54 GMT

In article <1992Dec18.004920.2364@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>roger@crux.Princeton.EDU (Roger Lustig) writes:
>: >In article <1992Dec14.173939.6318@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>: >>written probably at least 4 before that. The conductor Willem
>: >>Mengelberg recalled an all night session spent at the house of the
>: >>Weber family (descendants of the composer) in - perhaps - the 1920s,
>: >>playing through the manuscripts of 4 unknown Mahler symphonies which
>: >>he had entrusted to Baroness von Weber. As the family lived in Dresden
>: >>it is unlikely that the manuscripts survived......

>: I'd just like to point out that this is a non-sequitur.  Contrary
>: to popular image, Dresden as a whole was not leveled -- only the 
>: central area and a few other areas.  Many residential areas, including some
>: where nobility might have lived, were untouched.  The Landesbibliothek,
>: among other things, remained intact (thank heavens!).

>: Besides, great treasures such as those scores, if they existed, would
>: probably have been evacuated.

>I'm relieved to hear it - or will be if they ever come to light. Can
>you suggest any reason why, if they do still exist, they wouldn't have
>turned up in the past few years, especially given the tremendous
>interest - not to say money - they would surely attract?

Well, for one thing, I wonder whether they exist.  What does LaGrange
have to say about Mengelberg's memories?  How would Mahler have 
gotten four symphonies onto paper without mentioning them in a 
letter?  

Anyway, things *do* get lost, or get sat on by private collectors.
The autograph to the Fantasy and Sonata in C minor by Mozart just 
turned up a few years ago (see JM, 1992); this new Berlioz piece
was hidden away, and the autograph of Haydn's Op. 50 quartets
appeared in Australia a few years ago.  

Some things wind up in a lot with other things, and get bequeathed
to someone who's too preoccupied to sort through them.  Some things 
get thrown out or used for wrapping paper.

Roger

>
>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452
From: fernande@cps.msu.edu (Jose Roberto Fernandez)
Newsgroups: rec.music.classical
Subject: Recorded using B&W speakers
Date: 17 Dec 92 16:28:12 GMT
Organization: Dept. of Computer Science, Michigan State University
Originator: fernande@atlantic.cps.msu.edu

I've seen a few CDs with notes indicating that they were recorded
"using B&W speakers."  My question is, how are loudspeakers "used"
in a recording and what influence do they have on the quality of
a recording?
-- 
Jose Roberto Fernandez
fernande@cps.msu.edu
Computer Science
Mich. St. Univ.
Newsgroups: rec.music.classical
From: doom@elaine36.Stanford.EDU (Joseph Brenner)
Subject: Debussy, Shostakovich, and... ? 
Organization: DSO, Stanford University
Distribution: rec
Date: 16 Dec 92 08:26:23


I like Debussy, I like Shostakovich, what else would you
predict that I'd like?  What are their influences?  
What books should I be reading about this? 

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Pachelbel, Beethoven, and Mel Gibson
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 18 Dec 1992 00:45:02 GMT

spacefox@acs.bu.edu (Godfrey Degamo) writes:
: 
: Hey the holidays are fast approaching!  Happy Holidays everyone.

Please - don't remind me.
[....]
: My friend told me that he improvises better on the piano when there's a woman 
: present in the room.
: 
: Someone else told me that in his music appreciation class, the teacher asked,
: "Why do you like classical [in the gross sense, not the era] music?"
: To which a student replied, "I like to seduce women with classical music."
: 
: I chuckled at both remarks, but that got me wondering a bit:
: 
: What's the best music to romance a woman at the piano?

Sorabji's Opus Clavicembalisticum. :-)

--
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: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: Mahler novice
Organization: Helsinki University of Technology, Finland
Distribution: rec
Date: 16 Dec 92 21:56:57

In article <2B2E0FBE.28245@news.service.uci.edu> jdooley@maemaster.eng.uci.edu (John R. Dooley) writes:

>In the end if you do enjoy Mahler you'll probably want recordings of
>all 10 symphonies and the fragment of #10.

  One of those all 10 is of course "Das Lied von der Erde", that is a
  symphony for alto and tenor soloists and orchestra. It is really a
  wonderful work, by which Mahler meant to work around the problem of
  symphony nr 9, as it actually is the 9th in order but with no number.

  Additionally there are several (orchestral) song cycles: "Lieder des
  fahrenden Gesaellen", "Des Knaben Wunderhorn", "Kindertotenlieder"
  etc. Many of those songs are really delightful.
--
!
!	Jyrki Wahlstedt
!		Jyrki.Wahlstedt@hut.fi
!
!  Our life is no dream, but it should and will perhaps become one.
!
Newsgroups: rec.music.classical
From: horwath@rtsg.mot.com (George Horwath)
Subject: Dresden - lost organ was Re: Lost Masterpieces 
Organization: Motorola Inc., Cellular Infrastructure Group
Date: Fri, 18 Dec 1992 20:57:05 GMT

I'm wondering about the Schnitger organs that were "lost". Its
my understanding that the pipes of the Schnitger in the 
Hofkirche were placed in safe storage. The rebuilt church
has a replica case but (supposedly) the "original" pipes.

Thru some conversation in soc.culture.german, I've discovered
that the Frauenkirche will be rebuilt. This is the church where
JSB was supposed to be part of an organ competition, etc. Does
anyone know if any of that instrument was saved?

-------------------------------------------------------------------
    Motorola C.I.D.
  I speak for myself, not my employer
   horwath@rtsg.mot.com
-------------------------------------------------------------------
From: bellmann@qut.edu.au
Newsgroups: rec.music.classical
Subject: Re: Requies
Date: 14 Dec 92 14:58:05 EST
Organization: Queensland University of Technology

I tried to post the following but it bounced. Sorry if it's not of general
interest.

I didn't see the original posting (some don't turn up here) but saw it
quoted by others.

Is your interest on Requiems specifically liturgical, or does it extend to
instrumental pieces also called so? Or to generally elegiac mood pieces not
necessarily choral or not necessarily following the latin text?

There are some instrumental/orchestral pieces called Requiem. You could try
those by Toru Takemitsu and Ingram Marshall. Gavin Bryars has a haunting piece
for violin, cello and electric guitar entitled "After the Requiem", written in
memory of a friend who died in the Lockerbie plane crash. Closer to a 'normal'
requiem there is one by Luciano Berio called "Requies". A haunting piece. And
there are some symphonies that are some sort of requiem too, such as the
Sinfonia da Requiem by Britten and the Fourth by Howard Hanson - written in
memory of his father. Each movement bears the title of one of the requiem
sections -. And Honneger's Third, called "Liturgic" whose three movements are
entitled "Dies Irae", "De Profundis Clamavi" and "Dona Nobis Pacem". Probably
his best work.

Hector Bellmann
From: rags@triples.math.mcgill.ca (Robert A. G. Seely)
Newsgroups: rec.music.classical
Subject: Re: It's called "Deploration sur la morte d'Ockeghem"
Date: 13 Dec 92 21:03:00 GMT
Organization: /etc/organization


The above-named piece by Joaquin desPrez is high on my personal favorites
list - one of the most moving tributes of a collegue by any musician.  Not a
requiem in any standard sense, but a worthy addition to the current list of
such on this group.  

Personal favorite performances:  The Deller Consort and the Hilliard
Ensemble.  (The former is probably impossible to find these days - my copy
is an old Vanguard recording.  The latter is on EMI.)

BTW - my apologies in typing (repeatedly) "requium" the other day - either
my brain or my fingers were on strike that day...
From: tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker Lab,54810,2720402)
Newsgroups: rec.music.classical
Subject: Re: When to Initiate a Standing OHHHH ...
Date: 17 Dec 92 19:00:01 GMT
Organization: Cornell-Materials-Science-Center
Originator: tan@msc2.msc.cornell.edu

From article <1992Dec16.152149.18973@europa.asd.contel.com>, by ashley@oasis.gtefsd.com (Bob Ashley):
> In article 19216@news2.cis.umn.edu,  jill@gopher.ccbr.umn.edu (Jill Hollifield) writes:
> 
>>So, my questions:  Does this happen anywhere else?  And what are *your*
>>criteria for a standing ovation?  What has to happen to bring you

You know it when it happens.  It's not a matter of "criteria", not a
matter of deep thought.  You just do it when it seems right (and you'll know
when it feels right.)

Dave
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Other BEST finales
Organization: University of Western Ontario
Date: Fri, 18 Dec 1992 03:13:45 GMT

for big, the final chorus of the St. Matthew Passion
for little, Haydn op. 33 #2 SQ (The Lark?). One last, rather inconclusive 
sounding statement of the basic motive. Very Haydnesque, very funny.

Why are there so few recordings of the op. 33 Quartets? They're my 
favourites

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: symphonic music with electric instruments
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Thu, 17 Dec 1992 17:38:57 GMT


Back around 1970 or so, the keyboard player for the Brtish rock group
Deep Purple (I think his name is John Lord, but I'm not sure) wrote
a concerto for rock band and orchestra. Deep Purple performed it with
the London Festival Orchestra conducted by Malcolm Arnold in the Royal
Albert Hall. It was an interesting experiment, performed well for what
it was, but in retrospect it was a bit crude and had an adolescent 
flavor to it (probably why I liked it at the time).

I suppose the distinction here might be between electric performers
making use of an orchestra, and an orchestral composer making use of
electric instruments. The above is, I think, neither of these, but
rather somewhere in the middle. The Beatles used orchestras to back
them up, and some modern composers have used electric instruments as
part of the orchestra, but the unique thing about the Deep Purple
experiment was that it gave essentially equal roles to rock band and
orchestra. They called it a concerto and used the traditional theme and
variations approach. 

On another tangent, the Kronos Quartet has merged a traditional string
quartet with a variety of non-traditional sound sources, such as tape
recorders. 

On yet another tangent, Anthony Braxton has done some very bizarre stuff 
with modern jazz sounds and orchestra.
 
Yet another, Toru Takemitsu has blended an orchestra with Japanese flute
and koto, for a very different mix of sounds. 

There really has been and still is a great deal of blending of orchestras
with anachronistic sound sources. Some of it is really quite good, some of 
it less accessible than others. For those who are interested in such things,
there is much available on recording. I would encourage you to check it out.

- BK 
Newsgroups: rec.music.classical
From: qcg@casbah.acns.nwu.edu (Qing Guo)
Subject: looking for CD of "Morning has broken"
Organization: Northwestern University, Evanston Illinois.
Date: Mon, 14 Dec 1992 18:56:25 GMT

Hello, everyone.  I apologize if my question is not for this news group. 

There is a song "Morning has broken" sung by Cat Stivens. I already have this 
CD. I once heard in radio the same melody played by an orchestra (no singer
sings with the orchestra), it was very beautiful, but I don't know who played 
it so I can not buy the CD.  Does anyone know any CD which includes either 
the song or only the melody of "Morning has broken"?  Thanks.

Qing


Newsgroups: rec.music.classical
From: gds@york.cs.ucla.edu (Greg Skinner)
Subject: Re: How to read orchestral scores?
Originator: gds@york.cs.ucla.edu
Reply-To: gds@cs.ucla.edu (Greg Skinner)
Organization: in your face!
Date: Wed, 16 Dec 92 21:49:46 GMT

In article <1992Dec16.014046.11107@newsgate.sps.mot.com> dwong@chopsuey.pico writes:
>In article GIx@news.cso.uiuc.edu, al21146@uxa.cso.uiuc.edu (Richard Feynman Albert LiFeynman ) writes:
>>  I have a few questions on how to read orchestral scores.
>>1.  How can a person read a whole page of notes at once and knows how it
>>  sounds? I can read a Bruckner symphony with relative ease due to its
>>  block structure. I need the music on and I can not read all the lines
>>  at once. I need to follow the melody. A complex Mahler symphony is too
>>  difficult to read for me.
>It is difficult for many, not just you. :-)  Minimum requirement is to be able
>to play the score on piano if you want to learn it.

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. :-)

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

>>2. Is it possible to self-train in score reading? Almost all my musical 
>>  knowledge I know I learned on my own, by reading books and trial
>>  and error.  If this is so, what is the proper way to do?way
>Can you read all the cleives fluently?  If not, lots of practice.
>Play on the piano if a real orchestra is not available. :-)

I would imagine it is possible to train yourself to read scores.  I do
it sometimes, for fun, while listening to a piece.  However, there are
probably some techniques I'm not aware of that would make score
reading easier, and make it possible for me to read difficult pieces.
I imagine you might have to study with a conductor to do that.

>>3. In order to do serious musical criticism on interpretation we
>>must learn to read orchestral scores. Is this true? This is the
>>feeling I get from listening to classical music for the past nine
>>years. 

Well, I suppose if one wants to do serious musical criticism that is
recognized by other serious musical critics one must have the same
credentials and skills as they.

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

--gregbo
Newsgroups: rec.music.classical
From: torenvl@ecf.toronto.edu (TORENVLIET GERARD LAWRENS)
Subject: Christmas Carols: Trevor Pinnock (?) and the English Consort
Organization: University of Toronto, Engineering Computing Facility
Date: Sat, 12 Dec 1992 04:14:59 GMT

Listening to CBC yesterday morning, Leon Kohl played some Christmas Carols
done by Trevor Pinnock and the English Consort.  The Carol I am interested in
particularly is "Il est ne, le divin Enfant."  Does anybody out there know
what particular recording was played on CBC, or have any good suggestions
for versions of "Il est ne, le diven Enfant?"

Regards,
Gerard
From: co736@cleveland.Freenet.Edu (Mark McFadden)
Newsgroups: rec.music.classical
Subject: Re: Debussy, Shostakovich, and... ?
Date: 18 Dec 1992 01:03:28 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


Joseph Brenner writes:

>I like Shostakovich,
>what else would you predict that I'd like.

Try Benjamin Britten.  Besides being soulmates, he and 
Shostakovich had strong and similar views about music.  I can
particularly recommend the Piano and Violin Concerti, but don't
miss out on Britten's opera and song cycles.  Britten was the
first composer I came upon with a true feeling for setting
English to music (in this century, at least).  One other note:
try one of the recordings for solo violincello...truly
wonderful stuff.
-- 
Newsgroups: rec.music.classical
From: jacob@max.cc.brandeis.edu ( )
Subject: Re: ?: Dvorak's use of PENTATONIC scale?
Organization: Brandeis University Math Department
Date: Tue, 15 Dec 1992 00:38:19 GMT

In article <1git94INNnae@cat.cis.Brown.EDU> ST801578@brownvm.brown.edu () writes:
>I was just listening to Dvorak's "American" String Quartet.  I noticed that
>among this and several other of his works, Dvorak loves to throw in melodies
>based on the pentatonic scale.  I don't know too much about Dvorak and was
>wondering if the pentatonic scale was a scale he used a lot.  Where did
>he get his obsession with this scale if it is used a lot? 

Can't talk in particular on this example but in general I've read that
Dvorak was really fascinated with blues and in general African-American
music... (much before any significant number of White Americans)

Again I'm only talking in general & not of that quartet's use of pentatonic...
Just trying to answer the question where he might have gotten his obsession
with pentatonic. Don't know much about the music of his native place but
from what I know of Hungarian and Rumanian music, I wouldn't say (anhemitonic)
pentatoniticity would be the most conspicous characteristic of Eastern
European music (although I suppose if one looked hard one might find some
pentatonic tunes even there too) So if he didn't pick it up at home, I submit
America is as good a guess as any other place ... :-)

>Correct me
>if I'm wrong, this scale gives music a oriental like quality.

Or Blues-like, or Irish-or-Scottish-Celtic-like, or sea-chantey-like, or...