HDTenEightyP/NetNews huggingface dataset:
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: Euphoniums (was: Tubas)
Organization: The Ohio State University
Date: Tue, 17 Nov 1992 19:54:09 GMT

Since "euphonium" is an English word made up of a Greek root + and English 
ending (according to my Webster's), rather than a foreign import like datum/a, 
the plural is euphoniums.  I hope that everyone can now rest at ease for the 
remainder of the day.

Michael
(who plays the euphonium.... but only one at a time)
-- 
*>   Michael J. Valinis   -=+<*>+=-   mvalinis@magnus.acs.ohio-state.edu   <*
*>=>  "Music is your own experience, your thoughts, your wisdom. If you  <=<*
*>+>=> don't live it, it won't come out of your horn." -Charlie Parker <=<+<*
*>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<*
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: invective
Organization: University of Western Ontario
Date: Sun, 15 Nov 1992 16:27:02 GMT

Surely the greatest of all is the response of Max Reger to a critic who 
excoriated one of his works:

"I am sitting in the smallest room of the house. I have your review 
before me; soon it will be behind me."

Pure genius.

By the way, Tchaikowsky once referred to Brahms as "that giftless 
bastard." Probably one of the greatest examples of the pot calling the 
kettle black.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Newsgroups: rec.music.classical
Subject: NEW THOUGHTS ON SUPERTITLING?
Date: 16 Nov 92 16:39:27 GMT
Article-I.D.: usenet.BxtI9r.DKq
Organization: Indiana University

About a month ago there was a thread going on in this
newsgroup regarding the good and bad points of supertitling.
At that time I had come down heavily *for* the availability
of them. I haven't changed my mind. But I would like to
share some footnotes.

This weekend we went to see the Indiana University
production of Falstaff. A mighty nice performance, I might
add, with IU-graduate, recently of Christopher Columbus
fame, Timothy Noble as Falstaff. Anyhow, this was
supertitled. 

Unfortunately we had a couple sitting in front of us who
insisted on laughing loudly through the performance. That in
itself is fine. Falstaff is a lot of fun. But these guys
were laughing not with the lines as they were delivered with
the action on the stage, but with the supertitles! 
In the supertitles, unavoidably, quite often the punch-lines
are written slightly before they are actually delivered.
So these guys were laughing and rolling out of synch
througout. It was a bit like watching those 70's Kung Fu
films with their incompetent dubbing!

Are supertitles then a bad thing in operas when audience
reactions are loudly expressed? Most comic ones that is.
Or should we feel free to tap them on the shoulder and ask
them to wait for the actual lines and action? I wonder if 
the performers feel disoriented by this phase-lag?

				Sami Mitra
Newsgroups: rec.music.classical
From: rodean@fc.hp.com (Bruce Rodean)
Subject: Re: The worst composer ever
Date: Sat, 21 Nov 1992 16:26:14 GMT
Organization: Hewlett-Packard Co., Fort Collins, CO
X-Newsreader: TIN [version 1.1.8 PL6]

Richard Smith (r4smith@student.business.uwo.ca) wrote:
> It's a poll--who do you think is the worst famous composer of them all?
> 
> Let me start it off. I think it's Delius. Then again maybe it's Arthur 
> Bliss.

I think you're dead wrong.  I like Delius, especially the Florida Suite.

What's this supposed to prove anyway?

--
Bruce Rodean                          Hewlett-Packard Company
rodean@fc.hp.com

Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: piano and flute
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Mon, 16 Nov 1992 22:09:09 GMT


In article <UGX8XOT@gwdu03.gwdg.de>, kschorn@gwdgv1.gwdg.de writes:
|> I play piano at medium level, my wife plays flute very well. We already 
|> learned a lot of duets for piano and flute from Bach and Haendel. We 
|> want to learn compositions from other composers as mentioned above.
|> Who can suggest to me nice pieces for piano and flute, which are not too
|> difficult to play ?
|> 
Bach and Handel provide some marvelous material. You might also check
out anything you can find by Vivaldi (some of the very best Baroque)
and Telemann (the most abundant Baroque). There is also some wonderful 
stuff of a more recent vintage. I am thinking primarily of a piece by 
Poulenc. I can't say how difficult it is, but it is so good, I would 
suggest investigating it. In fact, there is a wealth of beautiful music 
for flute and piano. You might want to go out and buy several recordings 
with this instrumentation covering a wide range of composers, and listen 
for something you would like to perform yourself, then re-mortgage your
house to buy all the sheet music from Schirmer's. :-)

Ciao, BK
Newsgroups: rec.music.classical
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Re: Perfect Pitch Ability - Questions
Organization: Massachusetts Institute of Technology
Date: Mon, 23 Nov 1992 20:32:12 GMT

This past weekend I was at a workshop with the conductor David Willcocks (formerly of King's
College, Cambridge, etc.). His ear (and inherent perfect pitch) is the stuff of
legends and great stories. He tells one on himself - that his perfect pitch
changes according to the seasons, and that one time at a rehearsal he asked for a
pitch from the organ but thought it not correct, so he got his pitch pipe for the
same pitch, and found that not correct. Next, one of his singers produced a
tuning fork, and Willcocks was still not satisfied. He finally sang his own pitch
for that particular note and the choir proceeded to sing.

One of the hallmarks of the Willcocks' sound (whether in voices or instruments)
is the intonation. His ear is phenomenal and he has developed a whole repertoire
of ways to help singers and players get in tune with themselves and each other.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Brahms
Organization: Camosun College, Victoria B.C, Canada
Date: Fri, 13 Nov 1992 17:52:49 GMT

In article <1992Nov12.214205.16132@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
[....]
>This is an interesting topic. Composer's who have rubbished other composers?
>
>How about Debussy describing Satie's music as 'worthless'?
>
>Messiaen said that no great piano music had been written after Mozart
>until Debussy came along.
>
>Any others?

"I have played through the music of that scoundrel Brahms. What a
talentless bastard!" The diary of Tchaikovsky, 1886.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Clarinet construction
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 19 Nov 1992 19:40:13 GMT

In article <1992Nov17.183110.15040@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1992Nov17.161018.18555@tc.fluke.COM> strong@tc.fluke.COM (Norm Strong) writes:
>>All the good clarinets I have seen were made of ebony, a wood in
>>increasingly short supply.  Within the next 2 decades there will no
>>longer be enough ebony for musical instrument construction.  
>
>Clarinets are made of Grenadilla wood, not ebony, pace Stravinsky and
>Woody Herman.
>
>>What research is being done to develop a suitable synthetic replacement?
>>There are many engineering plastics that should be at least as good as
>>ebony, but I'll bet no clarinet manufacturer is looking at them.  
>
>Well, what's the international grenadilla situation?  (I honestly don't 
>know.)  I know that Heckel has several decades worth of bassoon wood
>stocked away to age; don't know what the clarinet people are doing.  
>
>Roger

Oboes are also made of grenadilla and there is plenty of it in South America.
I've not heard Loree [the French oboe maker] issue any worries about the
supply.

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Quartet
Newsgroups: rec.music.classical
From: cfw@unixland.natick.ma.us (Christopher Wroten)
Subject: Yamaha CLP 560 opinions as a piano replacement ??
Organization: Unixland Public Access Unix & Think_Tank BBS
Date: Mon, 23 Nov 1992 18:23:13 GMT

I am looking at the Yamaha Clavinova CLP-560 as a replacement for a number of
falling-apart upright acoustic pianos in a grade 4-7 middle school. I need a
hard touch and the Yamaha had the hardest (58 grams). The sound from the
built-in speakers was *very* nice (I want one with built-in speakers because
I don't want to have to try to match an amp to the keyboard nor drag around
yet another piece of bulky equipment from class to class). The piano sound was
quite realistic! The quoted price was $2650.

Comments please on this model or the CLP line in general and the price.

Christopher Wroten, cfw@unixland.natick.ma.us




Newsgroups: rec.music.classical
From: lungtt@gus26.ecn.purdue.edu (Terence T. Lung)
Subject: Re: Brahms Violin Concerto
Organization: Purdue University Engineering Computer Network
Date: Sun, 15 Nov 1992 20:21:05 GMT

>In article <1992Nov15.153350.9061@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
># Can anyone out there recommend a really passionate performance of the Brahms
># Violin Concerto.
>[...]
># Also, a friend whose musical opinion I respect says Anna-Sophie Mutter's with
># von Karajan on DG is disappointing as well.  I thought that would be 
># definitive.

I hear the RCA recording of Heifetz' Brahms recording is a classic.
It is highly rated in all of the reviews I've seen.  I've been 
looking forward to getting my own copy but haven't gotten around to it.
This is the one that comes along with a not so special recording of
the Beethoven violin concerto.  I do not know whether this Brahms
recording is especially *passionate* or anything except that 
unfortunately it is *analog* in this digital age.
From: kevin@sys6626.bison.mb.ca (Kevin Scott)
Newsgroups: rec.music.classical
Subject: Re: Music to calm down by
Date: Fri, 20 Nov 92 22:50:55 CST
Organization: System 6626 BBS, Winnipeg Manitoba Canada

das@voodoo.boeing.com (Deb Schwartz) writes:

> At work these days, I seem to be in a constant state of stress, and have
> been thinking that some soothing music might help greatly.  I love classical
> music, but don't have a whole lot of exposure to it.  I would greatly
> appreciate recommendations for music that has a calming effect.
> 
> Thank you,
> 
> ------
> Debbie Schwartz // das@voodoo.ca.boeing.com  // ....uw-beaver!bcsaic!voodoo!d

 
Very nice and very soothing are Vivaldi's mandolin, lute and guitar 
concertos...any of them, really.
 
I find them very difficult to hate, anyway!
 
KS
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: re:Re: representative classical list
Organization: University of Western Ontario
Date: Wed, 18 Nov 1992 04:43:32 GMT

I didn't say to dump the Reich (don't actually know this piece, he says 
with some embarrassment), but I think that to go from the Berg Violin 
Concerto to Steve Reich skips most of the important developments in the 
mid-twentieth century.

About the Berg. Great piece, no question. But is the representative of 
twelve-tone music. No way--it's an anomaly. Berg was a marvelous composer 
but not as influential as Webern

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: slj1k@cc.usu.edu
Newsgroups: rec.music.classical
Subject: Re: Rachmaninoff's cello or 2nd?
Date: 18 Nov 92 16:29:19 MDT
Organization: Utah State University

In article <BxxGoz.884.1@cs.cmu.edu>, acid+@cs.cmu.edu (Christopher Colby) writes:
> In article <1992Nov17.222353.60974@cc.usu.edu> slj1k@cc.usu.edu writes:
>>I'm torn between purshasing a Rachmaninoff CD containing his 2nd Symphony and
>>the Vocalise, and one with his cello sonatas with the Volcalise.
>>
>>Any suggestions (and please don't say both, I'm poor)
> 
> Oh, you're far more hip if you go with the cello sonatas.
> 
> -chris
> 
> P.S.: Seriously, which recordings are these?

	I just had time to look at the labels (I know, a hell of a basis),
	and the 2nd Symphony appeared on the 1992 TELARC release.  The cello
	concertos were on PHILIPS' Digital Classics, which included some
	Dvorak cello and piano concerto, didn't see a year...but I'm leaning
	toward the TELARC, they've never disappointed yet regardless of the
	talent, which I'm sure will be amazing.


-- 
-------------------------------------------------------------------------------
Mark L. Reece     |  ``... and the trees are all kept equal by hatchet, axe and
SLJ1K@CC.USU.EDU  |  saw.'' - Neil Peart ``... uh, Viv, can you, like, actually
je taime, jen     |  kill yourself with laxative pills?'' - Neil, a young one.
-------------------------------------------------------------------------------
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: REVIEWERS needed
Date: 23 Nov 92 16:27:38 GMT
Organization: Digital Systems Co., Atlanta GA

"Chorus!" -- a monthly publication "for and about the choral music
enthusiast" -- is looking for credible reviewers in a number of
cities in North America; yes, even world-wide for that matter.

We have writers in New York City, Princeton/Philadelphia area,
Baltimore/D.C. area,
St. Louis, Minneapolis/St.Paul, Seattle, Atlanta ... but we need
occasional reviewers in other cities as well.

Of specific interest in North America would be:

Albuquerque/Santa Fe, NM
Boston, MA (and surrounding area)
Buffalo/Rochester, NY NY
Charlotte, NC (and rest of western NC)
Chicago, IL
Cleveland, OH
Dallas/Ft. Worth, TX
Houston, TX
Los Angeles, CA
Milwaukee, WI
New Haven, CT 
Pittsburgh, PA
Portland, OR
Rochester, NY
San Diego, CA
San Francisco, CA (and other Bay Area cities)
Toronto, ON
Vancouver, BC

We are not limited to the above list by any means.
Again, reviewers outside North America are also encouraged.

Several Netlanders already write for us, and reviews can
be sent by e-mail.  If interested, e-mail back to me your interest
and background in the field; samples of your previous reviews
reviews are encouraged.

We attempt to foster intelligent, insightful writing that is not
"dry academicism" but which stimulates the thought of the
informed listener/amateur/professional. 

Don't be discouraged if you are novice at reviewing -- you have to
start sometime.

Thanks in advance for your responses.

Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================


Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Mozart Quiz
Organization: University of Western Ontario
Date: Sun, 22 Nov 1992 23:24:44 GMT

1) 1791
2) Three tenors concert (Pavarotti, Domingo, Carerras)
3) Mozart K467 Piano concerto (usually referred to as #21, but htat 
depends on the numbering scheme). The slow movement was used in the movie 
"Elvira Madigan"--Mozart did not name it. Still it's more and more 
becoming known as the "Elvira Madigan Concerto." Wolfgang would get a 
good chuckle out of that one.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker Lab,54810,2720402)
Subject: Re: Brahms Violin Concerto
Originator: tan@msc2.msc.cornell.edu
Organization: Cornell-Materials-Science-Center
Date: Mon, 16 Nov 1992 22:08:57 GMT

From article <1992Nov15.153350.9061@cronkite.ocis.temple.edu>, by zorro@picasso.ocis.temple.edu (John Grabowski):
> Can anyone out there recommend a really passionate performance of the Brahms
> Violin Concerto.  I've already heard Stern/Ormandy on CBS and Perlman/Giulini
> on Angel, plus a few by relatively obscure East European orchestra whose names
> escape me now.  They are all lacking for some reason or other.  I've also heard
> a live TV version by Nadja Salerno Sonnenberg, and am tempted to get her
> studio recording, but I've found she's not as exciting in the studio.
> 
> Also, a friend whose musical opinion I respect says Anna-Sophie Mutter's with
> von Karajan on DG is disappointing as well.  I thought that would be 
> definitive.
> 
> Any suggestions?

Ginette Neveu, if you can find it.  Incandescent, white-hot, incredibly 
intense all come to mind (not to mention passionate) in trying to describe
it; listening to it is a searing experience.

The "if" is unfortunately a huge "if."  I asked around on the net a couple
of months (?) ago for this (and her Sibelius concerto.)  EMI had it in print
last year, but when I asked various CD stores, they all told me that it was
no longer in print.  It took me years of keeping an eye out to find an LP,
but that was years ago.

Aaargh!  What to do?

Btw, as a recording it leaves much to be desired.  It's pretty bad even
for its age (1949? 51?.)


Dave

> 
> John
> zorro@picasso.ocis.temple.edu
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Newsgroups: rec.music.classical
From: nad@cray.com (Ned Deily)
Subject: Boos (was: Favorite Ring recordings)
Date: 17 Nov 92 00:40:41 CST

In article <BxtIFC.BIv@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>[..] Boos are quite
>common with new opera productions in Germany, it seems.  I hope I'm not
>sounding xenophobic when I say that I find the sound of a German "boo"
>(I mean simply its acoustic effect) much nastier than an American or
>English one.

Perhaps it is simply a matter of "practice makes perfect"?

While I can recall several occasions of hearing lusty boos in a German
theater after a performance (almost always directed at the production
team, as Jon related), I cannot think of any occasion where I have heard
anything more that a timid isolated boo (at best) in an American theater
or concert hall.

Any counterexamples or speculation why this is so?  Do artists prefer
performing before American audiences because they are likely to 
be received more uncritically?   

--Ned (not willing to ascribe this to the 18th Amendment to
       the US Constitution)
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: tonality and modern music
Date: 18 Nov 1992 18:00:44 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <1876@heurikon.heurikon.com> gtaylor@vme.heurikon.com (Gregory Taylor) writes:

>One also finds seven-equal scales in the music of Thailand.
>(or sort of. I've never really discovered
>whether or not the scale is derived as an aliquot system by using a
>flute bored at equal intervals, or whether the origin of the system
>lies elsewhere. However, there does rather seem to be some debate on
>whether or not it's really an equal-seven system or not from Helmholtz
>on down....

I apologize for a slip in a previous post when I referred to the Thai
five-tone system - that should have been seven-tone. The most recent
scholarship I have seen recognizes that there are small but important
differences in the step sizes of Thai scales - thus it is not true 
equal temperament. The same controversy raged about the pentatonic
slendro system in Indonesia until Hood and others showed that the small
differences in step sizes were intentional and not the result of poor
instrument maintenance, as Alexander Ellis and others had proposed.
In fact, when a piece is "transposed" from the unequal-step pelog sys-
tem into slendro, the small steps are translated to the "small" steps
in slendro (even though the difference may be only 15 cents or so).

In fact the only two cultures that I know of that use equal temperament
are the West and China, even though in China it's more of a theoretical
tuning than a tuning in practice.

Bill Alves
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Re: representative classical list
Organization: University of Western Ontario
Date: Wed, 18 Nov 1992 00:22:03 GMT

Not a bad list, but not really representative. Some suggestions:
1) dump Mendelssohn Violin Concerto unless you are looking for an example 
of "classicized" romantic period composers.
2) Add Liszt Piano Sonata in B-minor (cyclical composition), Jeux d'eaux 
a la Villa d'Este"(precursor to "impressionist" piano writing)
3) add Debussy preludes bk 1 and 2
4) dump Tchaikowky who is for all intents and purposes a non-Russian 
composer (that is, he didn't write in a particularly Russian idiom)
5) add Mussorgsky "Boris Goudonov" (preferrably original version). Now 
this is Russian.
6) Machaut "Messe de Notre Dame" is great, but you have to have listened 
to some Gregorian chant to know why it's revolutionary. (To be honest you 
have to listen to organum & early motets after the chant, then Machaut)
7) Berg then Reich???? How about Webern 6 pieces for Orchestra, then 
Boulez "Le marteau sans maitre" the Penderecki's "Threnody" 

--More to come--

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Re: Brahms Violin Concerto
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 17 Nov 92 22:00:18 GMT

In article <1992Nov17.115723.27778@lmpsbbs.comm.mot.com> johnme@ecs.comm.mot.com (John Meyer) writes:
>In article <1992Nov16.220857.7299@msc.cornell.edu> tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker Lab,54810,2720402) writes:

>>Ginette Neveu, if you can find it.  Incandescent, white-hot, incredibly 
>>intense all come to mind (not to mention passionate) in trying to describe
>>it; listening to it is a searing experience.

I agree.  This is my favorite recording of the piece.  One of its virtues
which can be easily expressed in more prosaic terms is that the basic
tempo of the 1st movt. is faster than almost all other versions - which
I generally find to be too slow.  Even at this tempo though, Neveu's
intonation and purity of tone is phenomenally good.  She also manages
to avoid any suspicion of `shallowness' in the 3rd movt. which I often
find to be a problem with performances of this work.  Someone in an
earlier post, I believe,  complained that the sound of this recording
was not so good for its day - apparently unaware that the CD version
is a transfer from '78s, and a remarkably good one at that.  Tonal quality
is excellent, noise is low, and there are no importantly distorted climaxes.
Still, it is mono and dynamic range is limited by modern standards.

>>The "if" is unfortunately a huge "if."  I asked around on the net a couple
>>of months (?) ago for this (and her Sibelius concerto.)  EMI had it in print
>>last year, but when I asked various CD stores, they all told me that it was
>>no longer in print.  It took me years of keeping an eye out to find an LP,
>>but that was years ago.
>>
>>Aaargh!  What to do?

Well the CD version I have is on EMI-France, which is distributed in the U.S.
by Allegro Imports.  I don't know whether it is still available or not
but the way to really check would be to call and Allegro distributor.

>DAVE;
>
>Acording to the schwann (opus) guide.  G. Neveu,Schmidt-Isserstedt,North German RSO
>  do the concerto on the ACANTA label CD-43314  DDD

Yikes, DDD!  Neveu died in a plane crash, sometime in the late Forties I think,
so she never made it into the LP era, let alone DDD.  I've heard the Acanta
version though.  It is a live performance.  Definitely inferior to the studio
EMI version in almost all respects, but it does sell for around $5 in some
stores, and is a well above avg. performance of the piece, though one which
sounds like a live recording from the 1940s.


Josh

Newsgroups: rec.music.classical