HDTenEightyP/NetNews huggingface dataset:
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Gould on Laser Disk
Organization: MIND LINK! - British Columbia, Canada
Date: Sun, 8 Nov 1992 17:52:22 GMT

Does anyone know if the Sony series of Glenn Gould on laser disk has been
released yet? The video tape versions of these programs have appeared
locally, the cost is around $20 per tape, which is not unreasonable. I have a
few of these programs already, dubbed off the CBC which ran a lengthy series
of memorial programs on GG a couple of years ago. Hopefully the price of the
laser disks will not be out of line like some of the recent Sony releases
which are not only grossly overpriced, but contain considerably less than 2
hours of music.

Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Books on Opera
Organization: Camex Inc., Boston MA
Distribution: usa
Date: Mon, 09 Nov 1992 12:52:29 EST

In article <MISAWA.92Nov7171902@physics16.berkeley.edu>
misawa@physics.berkeley.edu writes:

>	Hi. Does anyone have any recommendations on books about opera?
>More specifically, I am looking for a book that discuss the different
>genres and gives examples of composers and operas in these different
>styles. Thanks in advance.

It's not clear what you want this information for.  Perhaps to pick a
period or composer and have a listen?  At any rate, I can suggest two books
that I have and that I refer to often.

The first is Milton Cross's book of opera synopses.  I don't remember the
exact title, but it has the story of perhaps 70 or so operas.  So that's
useful if you've always wondered about the story of Carmen or Turandot.  In
the back he has several short chapters, including one on the history of
opera (which directly addresses your question).  I don't know whether this
book is still in print in its original form, but just about every used
bookstore I've visited has more than one copy.

The other is the marvelous Metropolitan Opera Encyclopedia (again, maybe
not the exact title) edited by David Hamilton.  This answers all those
pesky questions that opera nuts like myself come up with, like where was
Pavarotti born and when was his debut?  It contains very brief synopses of
lots of operas, some word definitions, lots about individual singers, and
so on, in encyclopedic format.  At the back, and this is what you may find
useful in response to your question, is a chronology listing by year more
operas than you can shake a baton at.  So, if you're interested to compare
the dates of works of Wagner and Verdi, you just look it up.  If you've
heard only one opera in your life by Mozart and want to see what else was
shaking around that time, it's there.  If you are curious who came first,
Gluck or Glass, you can find out.

I have also read a number of books about the history of opera that seem to
address your question more directly, but in every case I would say you
might find them a little dry if you're browsing.

I guess I should mention the hilarious (but not all that bad really) "Opera
Plots Made Easy."  This teeny little book summarizes entire operas on very
small pages, usually one per page.  I can't tell whether it's intended to
be serious or not, but some of the summaries are very very funny.

Chris Ischay
chrisi@camex.com
From: hellerS@moravian.edu (sjh)
Newsgroups: rec.music.classical
Subject: Cage meets Magrite
Date: 10 Nov 92 16:07:54 GMT
Distribution: na

I saw on the news (CBS Sunday Morning I think) that the new Rene Magrite
art exhibition in NYC will have a concert featuring a work by John Cage as
part of the show. While I didn't hear any title of the work mentioned, it
was for prepared piano and the snippet played was too short for me to
identify but may well have been from the Sonatas & Interludes. Actually not
a bad choice for the Magrite exhibition...
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Re: Favorite Ring recordings
Date: 12 Nov 92 21:00:24 GMT
Article-I.D.: news.BxMFoo.F1J
Organization: University of Delaware

In article <mr.721561551@rwthi3> mr@rwthi3.informatik.rwth-aachen.de (Matthias Rademacher) writes:

[Georg Solti:]
>He made a Ring in Bayreuth in 83 or 84. His romantic version was
>no success at all. The following year he did not conduct again.
>Unfortunately I do not remeber the radio broadcast (I do not have
>a tape of it). Is there anybody who can comment on this Bayreuth
>performance?

There's a whole book about it: "The Ring" by Stephen Fay.  The
production was called "romantic" because of Peter Hall's approach to the
staging, which he wanted to be romantic-realistic; he didn't succeed,
because some of the mechanical devices which achieved certain special
effects precluded proper staging of the more important scenes.
Basically, Hall (and his designer, William Dudley) did not do his
homework on the piece (nor did he learn German, as he kept promising
to).  His strength as an opera director is his detailed work on
character and motivation -- some singers took part because of the chance
of working with him -- yet he did very little of that here.  Solti's
conducting was regarded as ok, not really all that different from his
recording.  He certainly didn't help the singers who needed help.  He
also came up with a "doctor's excuse" why he couldn't come back for any
of the following years, which was an insult to Bayreuth; the "Ring"
productions there are considered works-in-progress, improved constantly
each summer throughout their five-year life.

The booing he received is not remarkable.  It's almost the rule after a
new production in Germany.

As to the cast:  Hildegard Behrens did her first Bruennhildes (all 3)
for this production, and was generally agreed to be the standout, though
a few holdouts pointed out that she really hasn't the voice for the
part.  She was dramatically outstanding from all reports, and Hall did
most of his intensive work with her (though she probably needed it
least).  Siegfried was to be Reiner Goldberg, but he never worked out as
planned, and finally was replaced by Manfred Jung at the last moment.
Siegmund Nimsgern was Wotan, adequate but not outstanding.  Very few
others distinguished themselves.

The best effect, everyone agreed, was the Rhinemaidens.  A trick mirror
effect (it was suspended at an angle over a shallow water tank) made
them appear to be swimming up and down the full height of the stage.
Nude (that was not a trick, they really were).

This was replaced in 1988 by the Kupfer/Barenboim RING, which I saw that
year and which was filmed this year.  Expect another new one at Bayreuth
in 2 years.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: bil@cmn14.Stanford.EDU (Bill Schottstaedt)
Subject: Re: KDFC - a question.
Organization: DSO, Stanford University
Date: Sat, 7 Nov 92 15:24:20 GMT

There was a short time (about 6 months) when the bay area actually
had a great classical music station, but only at night -- some
rock station had decided to change format to country, if I
remember right, and the process got held up somewhere in the
FCC, and in the interim they had an engineer named Bob Young
who didn't care what he broadcast, and had a huge library of
music to draw on.  He started taking requests, and since as
far as I could tell there were only 2 other listeners besides
me, the three of us had the radio to ourselves.  One of the
three liked Vieuxtemps (sp?), but he usually stopped calling
around midnight -- many quartets, no commercials, no announcer!
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: HAYDN
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sun, 8 Nov 1992 06:00:54 GMT

In article <1163.3163.uupcb@synapse.org> ian.murray@synapse.org (Ian Murray)  writes:
>On 11-05-92, Ng Ling Ling wrote to All regarding Re: HAYDN
>NL>Haydn is getting back in vogue mainly because of the authentic period
>NL>style performance which is damned hot in Europe.

>What do you mean by "period Instruments"?  Would Vivaldi sound good on 
>instruments of Beethoven's period? Certainly everything I've heard by 
>Schnittke is performed on "period Instruments".  While I will grant you 
>that Baroque or Classical Period pieces sound mellower when played on 
>instruments of their respective periods,  This may be due to the age of 
>the instruments.  

How would you know?  Have you ever heard a performance where all the 
instruments were actually 200 years old?  This is hard to believe,
especially wrt the woodwinds, for which copies are almost invariably used.

>For example I have a Bass Viol that is reletively new 
>(Maybe 6 or 7 years old) which to me sounds rather tinny compared to my 
>other Bass Viol which is just over 35 years old and has a much richer 
>sound and I remember how tinny IT sounded when it was new.  How tinny did 
>the reletively new violins of say, Mozart's period sound during that 
>period?

Not at all, as far as we know.  (Also, how do you know your new viol isn't
just a tinny viol?)

But, getting back to the issue at hand:

a) I think you know what he means by period instruments

b) He's wrong, anyway.  The Haydn revival happened in the 60's and 70's.
We got at least two complete sets of Haydn symphony recordings, all
the quartets at least twice, tons of recordings of the Masses, etc.
Damn little of it on period instruments, either.

Roger
>
>"Beethoven was left handed!"
>
>TTYL
>     Ian "Doc" Murray
>
>---
> . WinQwk 2.0 #0 . Unregistered Evaluation Copy
>                                                                                                                         


Newsgroups: rec.music.classical
From: newjack@engin.umich.edu (Kyong Soo Lee)
Subject: The Best Thaikovsky's 6th
Date: Tue, 10 Nov 92 00:09:15 EST

Hello fellow netters!  I'm sure this question has been raised in the past.  Anyway,
which is the best recording of the Thaikovsky's 6th symphony out there now in your opinion?

Hope to get a long productive thread on this subject!

Kyong Lee
newjack@engin.umich.edu
U of Michigan, School of Engineering
Wolverines Rule!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: HAYDN
Organization: School of Computer Science, Carnegie Mellon
Date: Sun, 8 Nov 1992 15:28:22 GMT

In article <1162.3163.uupcb@synapse.org> ian.murray@synapse.org (Ian Murray)  writes:
>Haydn just doesn't do anything for me.  I've listened to several of hs 
>many symphonies, The Creation, but I must admit I'm not fond of choral 
>works with a few exceptions, and some Flute quartets.  What would you say 
>were your favorite Haydn pieces...the ones that made you want to hear 
>more?

I'm not much into Haydn, myself... YET.  I'm definitely convinced that he
was a wonderful and varied composer, and it's now just a matter of time and
money for me.  To answer your question, I think it was really some of the
string quartets and piano trios that made me want to hear more.  Also, the
masses are wonderful, although you say that you aren't interested in choral
music.  The 54th symphony really surprised me when I heard it in concert,
although I haven't aquired a recording, yet.  I think there is only one or
two recordings available.

You can get good recordings of most of this stuff at low prices.  Kodaly
Quartet on Naxos, Beaux Arts Trio on Philips (mid), the Guest and Willcocks
reissues on London (mid) for the masses (with excellent fillers by Mozart
and Vivaldi).

I really can't imagine anyone not liking the Op.74 and Op.76 Quartets.  For
about $5 a shot on Naxos, it seems a safe purchase.

-chris
From: hellerS@moravian.edu (sjh)
Newsgroups: rec.music.classical
Subject: Re: Piano Show-Piece
Date: 9 Nov 92 21:01:55 GMT
Distribution: na

In <1992Nov9.181132.2157@Princeton.EDU> roger@crux.Princeton.EDU (Roger Lustig) writes:

>In article <1992Nov9.213301.3988@ucsvc.ucs.unimelb.edu.au> u6404369@ucsvc.ucs.unimelb.edu.au writes:

>>   I think this has been discussed before, but since I haven't 
>>read this newsgroup for a long time, I will mention it again.

>>Does anyone know of any good classical pieces for piano, that sound and/or 
>>look virtuoso but are not so hard to play. I am at the technical 
>>level of pieces such as Mozart sonatas etc.

If you're not intent on sticking with the classical period, one I found
that can dazzle without being very hard to learn or play is the
Khachaturian "Toccata". I had it down and memorized in short order, and I
can't memorize for beans (nor do I play very well, but that's another
thread ;-)... It's 20th century, but rather romantic.
Organization: University of Maine System
Date: Thursday, 12 Nov 1992 13:02:29 EST
From: John Hassler <HASSLER@MAINE.MAINE.EDU>
Newsgroups: rec.music.classical
Subject: Re: Cage's 4'33"
Distribution: usa
 <910394f.37.721577418@ace.acadiau.ca>

    Robert J. Lurtsema, host of Morning Pro Musica program from Boston,
in an interview with Peter Schickele:
Robert J.:  "I've been working on Cage's 4'33", and I can play it in
             under three minutes."
Schickele:  "Well, sure, but you leave out the repeats."
Newsgroups: rec.music.classical
From: alexande@borland.com (Mark Alexander)
Subject: Re: Piano Show-Piece
Originator: alexande@genghis.borland.com
Organization: Borland International
Date: Thu, 12 Nov 1992 19:06:04 GMT


You definitely don't want to learn any late Brahms ... some
of those quiet little Intermezzi are tough.

I just started working on Chopin's C minor Nocturne, because I too
decided that I needed a piece for showing off.  It has a rather
dramatic climax, with big Lisztian octaves, that doesn't seem like it
it will be too hard once I play it another couple hundred times.
It's the subsequent Agitato stuff that's hard, and it's nowhere
near as flashy-sounding :-(

You might also try Mozart's D-minor Fantasia.  This has some pretty
flashy cadenzas and isn't really difficult.

Schubert's Impromptus Op. 90, 2 and 4, are good for showing off speed.
Only problem is, it takes a klutz like me several years to make them
sound good.
From: nbucknor@rpwmadhu.gmr.com (Norman Bucknor)
Newsgroups: rec.music.classical
Subject: Re: Lucia de Lammermoor
Date: 10 Nov 92 13:51:36 GMT
Organization: GM Research Labs, Warren, MI

In article <1992Nov8.224329.17236@husc3.harvard.edu> vnguyen@husc11.harvard.edu writes:
> 
[Discussion of various recordings deleted]
>
>Too bad, Ruth-Anne Swenson, having made her debut as a SPECTACULAR
>Gilda last year (opposite the crude Duke of Richard Leech), has no
>plan of singing Lucia yet .... (She will sing Zerbinetta inthe 
>spring, something to look forward to!) .... but I hope that in
>time she will try out this role for which she holds the most 
>promise .... but she'll need the time and experience to crack 
>this hard nut of a role ....  Well, the wait will be worth it,
>I think!
>
>Vinh Nguyen

Actually, Swenson *is* singing Lucia. She sang it for Michigan Opera
Theatre earlier this year. I think she at least equaled the level of her
Met Gilda performances (hobbling around on a sprained ankle to boot).

Norman Bucknor







Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Re:Piano transcriptions
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 9 Nov 1992 04:09:12 GMT

In article <hal.20.721076133@radio.wkar.msu.edu> hal@radio.wkar.msu.edu (Hal Prentice) writes:
>In article <17191@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
>>From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
>>Subject: Re:Piano transcriptions
>>Date: Fri, 6 Nov 1992 06:15:27 GMT
>>I have quite a lot of piano duet arrangements, including Mahler's 9th
>>symphony (along with his 1st, 2nd, 3rd, 4th and 5th)... Does anyone know if
>>the other symphonies have been released to the public domain (in piano duet
>>form, that is)?
>>
>Whoops!  I'm sorry, I misread your request.  Mahler transcriptions I don't 
>know...Schoenberg might have done some since he and Mahler were buds.

And when is someone going to record Mahler's piano transcription of
Bruckner's 3rd symphony? I know I'd buy it..

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Carmina Burana
Date: 13 Nov 1992 15:16:40 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

RANDELL WHALEY (b755zas@utarlg.uta.edu) wrote:
: Does any person know where I can find the next two operas (on a CD) of
: Orff's Trionfi trilogy.  I believe the titles are "Carmina Burana" (<--
: --- got this one already) "Catulli Carmina", and "Trionfi de Afrodite"
: Appreciate any help!

The Catulli was recorded on DGG in the 70's, but hasn't (to my
knowledge) made in to CD. It's pretty much more of the same.
Newsgroups: rec.music.classical
From: mvburke@silver.ucs.indiana.edu (mary virginia burke)
Subject: Re: Best Recordings of "1812" Overture
Organization: Indiana University
Date: Mon, 9 Nov 1992 19:06:31 GMT

I have no recommendations to make, but I'm curious to know about one in
particular--the Chicago Symphony one with Abbado conducting, released on Sony
Classical a year or so ago.  Would anyone care to give an opinion on it?  I've
not heard it yet, and am curious to know how the bits with the bells came out
(I was in the band that did the ringing, you see).

MVB

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Name this tune ...
Organization: Camosun College, Victoria B.C, Canada
Date: Thu, 12 Nov 1992 01:33:21 GMT

In article <BxJLKq.MGI@well.sf.ca.us> bryan@well.sf.ca.us (Bryan Higgins) writes:
>A friend asks:
>
>  What is the very shimmery opera used as the score for I Heard the Mermaids
>  Singing, and now on TV in the British Airways and Princess Borghese cosmetic
>  commercials? am dying to know -- would also like to know the best CD version
>  of this opera.

The BA - how *can* they claim to be the World's favourite airline BTW?
- is from Lakme by Delibes. I think it's called The Flower Song.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.

Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Messiaen recommendations?
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 5 Nov 1992 22:33:34 GMT

In article <1dbnlnINN9vs@agate.berkeley.edu> maverick@fir.CS.Berkeley.EDU (Vance Maverick) writes:
>Yes.  Also, before either of these, I would
>recommend the _Vingt Regards sur l'Enfant-Jesus_,
>for piano solo.  Of these, perhaps #13 the most:
>crystal-perfect, as somebody said.

Can anyone comment on existing recordings?  I've been really wanting to get
this piece, and I'm interested in opinions on which one to buy first.
Thanks.

-chris
Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Subject: Re: HAYDN
Organization: HAC - Johns Hopkins University, Baltimore
Date: Mon, 9 Nov 1992 14:02:34 GMT

In article <69144@cup.portal.com> Bill_P_Pearce@cup.portal.com writes:
>I cannot understand how it could seem to all
>sound alike -- Haydn is just the opposite for me.  Now Bruckner - there
>is one where it all sounds alike to me (not meaning to start a great
>controversy here - I do enjoy listening to Bruckner sometimes too - but
>his symphonies do tend to sound alike to me.
Hear, hear. And the problem with Bruckner is that it is the whole 
hour-long symphony that sounds the same. Haydn always knew when, and
how to take his leave.

What got me interested in Haydn was the complete piano trios by
the Beaux Arts.

Newsgroups: rec.music.classical
From: txa86@isuvax.iastate.edu
Subject: Re:Best Recordings of "1812" Overture
Reply-To: txa86@isuvax.iastate.edu
Organization: Iowa State University, Ames, Iowa
Date: Fri, 6 Nov 1992 17:44:15 GMT

There are two recordings of "1812" which are worth to recommend to you:

1. Sir Georg Solti, Conductor  Chicago Symphony Orchestra
   London Records

2. Tchaikovsky 150th Birthday Celebration Concert
   (including "1812" Overture)
   Yuri Temirkanov, Conductor  Leningrad Philharmonic Orchestra
   RCA Records
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Dummies (was Re: Bad Brahms)
Date: 13 Nov 92 16:42:02 GMT
Article-I.D.: menudo.1992Nov13.164202.22437
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston

In article <ykr1lcf@rpi.edu>, mccomt@aix.rpi.edu (Todd Michel McComb) writes:
>In article <1992Nov12.235644.2609@viewlogic.com> Bradford Kellogg writes:
>>I think it is implicit in this forum that the use of any superlatives
>>are accompanied by an IMHO.
>
>Yes.  This is exactly what we need.  And let's put a :-) in every sentence
>too.  That way we can be absolutely sure that we are giving our own opinions
>and not someone else's.  We can't be too careful!
>

Couldn't agree more... :=)  This newsgroup (IMHO) is for *friendly*  exchange 
of news and views on music we all love...  Preaching and patronizing insults
are quite out of place... :=)

Happy listening,
Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: b755zas@utarlg.uta.edu (RANDELL WHALEY)
Subject: Carmina Burana
News-Software: VAX/VMS VNEWS 1.41    
Organization: The University of Texas at Arlington
Date: Mon, 9 Nov 1992 18:55:00 GMT



	Miser, miser
 	modo niger et ustus fortiter!

Does any person know where I can find the next two operas (on a CD) of
Orff's Trionfi trilogy.  I believe the titles are "Carmina Burana" (<--
--- got this one already) "Catulli Carmina", and "Trionfi de Afrodite"
Appreciate any help!


p.s.
   The company Phillips had the latin and english words to the "Carmina
Burana"in the little cd booklet, and they had the latin words to their
Gregorian chants cd.  These are both great Cd's
pleas e-mail responses to b755zas@utarlg.uta.edu

Mucho Thanksias
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: STRAVINSKY
Date: 11 Nov 1992 17:00:28 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Jack Campin (jack@dcs.glasgow.ac.uk) wrote:
: OK, returning to the question I posed some while ago about Nancarrow's
: player piano music: what sort of player piano was it, and where do you
: get the rolls?  (My girlfriend has a pianola which should produce great
: results when the main bellows is fixed, as almost everything else is in
: perfect condition; but the rolls we have for it are crap, and something
: like this would be a mindblower).

The Nancarrow CD's have a listing of the publishers. Presumably since
they've never benn scored, you would obtain the rolls from them.


Newsgroups: rec.music.classical
From: potoole@maths.tcd.ie (Peter O'Toole)
Subject: Re: who wrote ...
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.
Date: Tue, 10 Nov 1992 12:45:17 GMT

Thanks to those who responded. The answer is that Dance of the Goblins
was written by Bazzini.

Peter O'Toole,
Trinity College Dublin.


Newsgroups: rec.music.classical