HDTenEightyP/NetNews huggingface dataset:
From: pieterh@sci.kun.nl (Peter Herweijer)
Newsgroups: rec.music.classical
Subject: Re: Who does Tchaikovsky well?
Date: 27 Jan 93 16:37:25 GMT
Organization: University of Nijmegen, The Netherlands

In <1993Jan26.132808.18283@st-andrews.ac.uk> gr@st-andrews.ac.uk (Gavin Ramsay) writes:
>For truly great interpretations of the above, try Mravinsky and the
>Leningrad Phil. on DG. For a more modern performance (not that there
>is anything wrong with the DG '60's sound), try Jansons and the 
>Oslo Phil.on Chandos.
>gav

Ah, yes, I've wanted to as for some time now: any net.wisdom
on how the DG performances compare to the recent Erato live
releases?

Peter Herweijer
pieterh@sci.kun.nl
Newsgroups: rec.music.classical
From: snippy@yoyo.cc.monash.edu.au (Lynette Bromage)
Subject: Re: Anyone heard of Gliere?
Organization: Monash University General Access Unix
X-Newsreader: TIN [version 1.1 PL8]
Date: Fri, 22 Jan 1993 10:18:18 GMT

Adam Ronthal (ronthal-adam@yale.edu) wrote:
: I finally got around to catching up on my news, and I noticed this subject
: line from Deryk B.  The article was unavailable, but I thought I'd respond 
: anyway.

: All I know about Gliere is that he wrote a very cool concerto for Horn and
: Orchestra.  It's recently been re-released on Philips (It was out of print
: for a while) and it is definitely worth picking this up.

: Adam

Gliere was born in Kiev in 1873 or 1875 (depending on which "authority is
writing) and died in 1956. He was a pupil  of Taneief and Ippolitof-Ivanof
at the Moscow Conservatory where he later became professor of composition.
He wrote symphonies and symphonic poems as well as a harp concerto,
chamber music, operas (including "Shah-Senem" 1925) and ballets
(including "The Red Poppy" 1927 and "The Bronze Horseman"). He was part of
the folk music movement especially influenced by music of Azerbaijan.
He also taught Prokofiev and Myaskovsky.

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

Lynette Bromage   snippy@yoyo.cc.monash.edu.au

MA student @Monash University
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Marines commercial
Date: 26 Jan 93 15:19:31 GMT
Article-I.D.: menudo.1k3kq3INNpam
Reply-To: chem91@Elroy.UH.EDU
Distribution: world
Organization: University of Houston
NNTP-Posting-Host: elroy.uh.edu

In article <1k28b1INN8s5@newsstand.cit.cornell.edu>, Michael Roman <mrr1@cornell.edu> writes:
>In article <1993Jan23.030733.8518@athena.mit.edu> Master,
>debrown@athena.mit.edu writes:
>>Hi. Does anyone know what music is played during the commercial
>>for the Marines with the chess pieces fighting each other.
>
>If anyone knows the answer, please post it.
>
>Mike Roman
>mrr1@cornell.edu

(small part of) Prokofiev's ballet *Romeo and Juliet* 

Bill

+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical
Subject: Re: Music Quiz - Murderous Composers?
Date: 27 Jan 93 20:48:47 GMT
Followup-To: rec.music.classical
Organization: Univ. of Arizona

In article <1993Jan26.222115.20194@murdoch.acc.Virginia.EDU>,
jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless) wrote:
> 
> In article <basinski-250193122108@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
> >In article <1k019nINNmbq@escargot.xx.rmit.OZ.AU>,
> >ryljjc@minyos.xx.rmit.oz.au (Jacqui Conn) wrote:
> >> 
> >> 2)  Of which (then young) French composer did Berlioz say: 'He knows everything, but lacks inexperience'?
> >
> >					Wagner (I think?)
> >> 
> Wagner wasn't French!!
> 

	What? Wasn't he? Oh, duh, yeh...
	
  /remove finger from nose

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Stravinsky's The Rake's Progress
In-reply-to: conrad@brahms.udel.edu's message of Thu, 28 Jan 1993 14:22:36 GMT
Organization: pubs
Date: 28 Jan 93 12:28:41 CST

Jon Conrad writes:

   You bet.  It's one of the greatest operas of our century, and a
   magnificent piece of work.  I love it all.  There's a superior recording
   (except for a weak Anne, alas) on Decca/London, conducted by Atherton.

There's also a video version, as well as Stravinsky's recording.  The
interesting historical position of this is that S. finished it, the
culmination of his long neoclassical period, just as this type if music
was becoming distinctly out of fashion.  Craft describes S.'s visit to
Darmstadt around this time and his apparent realization that he was out
of step.  It sounds a little like the circumstances in which Barber's
Antony and Cleopatra was introduced, though I've never heard that the
first production of The Rake was that kind of world-class embarassment.

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: William Byrd keyboard music
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Wed, 27 Jan 1993 21:13:22 GMT

In article <195737.10500@thomas.robots.ox.ac.uk> Philip McLauchlan writes:
>Having read the excellent article by Todd McComb about Byrd, along with his
>and Davitt Moroney's opinions, I decided to go and buy Moroney's CD set.
>Imagine my horror when I discovered that in the latest Harmonia Mundi catalogue
>the set has been DELETED.

Bummer.  The major record companies never cease to tick me off.

I have seen it on the shelves around here recently, but that's not to say it
won't be disappearing.

T. M. McComb

Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Heifetz was Re: Bach solo violin music
Organization: Camex Inc., Boston MA
Date: Fri, 22 Jan 1993 10:10:25 EST

In article <C16L8u.3rJ@dartvax.dartmouth.edu> xilin@northstar.dartmouth.edu
() writes:

>Does any one like Heifetz, at all?  I found him to be too much less
>musical than technical.  And I hate his performance of the Bach's Sonatas
>and Partitas, though I have a set of his CD.

Your question is presumably rhetorical.  Enough people have liked him over
the years for RCA to invest a buck or two.

It's ironic to hear a criticism levelled at him that get levelled often at
today's players -- technically proficient, not that expressive.  In fact,
this was said by some about Heifetz during his career too.  I disagree.
What Heifetz lacks is the histrionic feel that makes some people sit up and
listen.  What he offers instead is perfection, not only of tone and
intonation, but also of expression.  I think it takes some listening to a
broad cross-section of players to get this.  So keep listening.

As with any artist, there are works more or less well-suited to him.  The
Sibelius comes to mind as one of those perfect match jobs.  One could argue
that Bach wasn't his real cup of tea.  Part of the reason for this is that
he didn't prefer to adapt his style to different musical periods.  So his
Back sounds a lot more like his Brahms than we are used to today.

Still, there's a lot of freshness in his Bach, and massive competence.
It's a pleasure for once to hear the fugues up to tempo, and my jaw still
drops when I hear him rip off those quadruple stops one after another.
He's the only player who does some of the things he does in that music.
It's enlightening, though it may not suit your tastes.  But hey, if you
hate it, why keep the CDs?  Donate them to your local library where someone
else will get some fun.

Let me just put in a plug here for Szigeti's Bach.  I would never recommend
these as a first set (my first choice would be Grumiaux), but to anyone who
wants to understand the solo violin music in depth, I think Szigeti is the
pinnacle.  His playing is more idiosyncratic than any I have heard, his
bowing shows his age in this late-career recording, but his playing is more
expressive of the musical content than any other.  When I first heard this
recording the light bulbs just kept lighting for all six pieces.  His
ability to draw arpeggios into a seamless legato mass of sound is something
I've never heard anyone else do.  So for the afficionados out there, I
recommend this one most highly.  If you can find it.

Chris Ischay
chrisi@camex.com
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Classical Music for modern instrument
Date: 26 Jan 93 10:04:39 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <EIJKHOUT.93Jan24203956@cupid.cs.utk.edu> eijkhout@cupid.cs.utk.edu (Victor Eijkhout) writes:
>In article <Jan.24.02.13.23.1993.21034@ruhets.rutgers.edu> bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
>   The electric bass is even less of a new instrument since
>   one of its major raisons d'etre is simply that it is less of a pain in the
>   ass to carry around.
>
>I take offense! You can not separate the history of the mere
>materials from the playing techniques that have evolved during
>the lifetime of the instrument. On an electric bass you can play
>harmonic slides, polyphonic tapped lines, hammering, and probably a
>couple of techniques more that don't exist on upright.

I would highly recommend hearing a recital by contemporary bassist
Robert Black of the Hartford Symphony (not the same guy as the
conductor from New York).  Robert plays both the upright and the
electric bass guitar and does quite amazing music with both...and
when I heard him in recital (on both instruments plus a
synthesizer in the shape of a bass guitar) all of the pieces he
played (except one, I think) were written in the decade before the
recital (mid 1980s) and were adventurous, quality works.
  I think I'll contact him and see what's happening.

Cheers,

--Mark Gresham
dscatl!mgresham@gatech.edu
=====

Newsgroups: rec.music.classical
From: wing@dcs.warwick.ac.uk (**Raymond Chan**)
Subject: Two questions about violin......
Followup-To: rec.music.classical
Summary: violin
Organization: Department of Computer Science, Warwick University, England
Date: Thu, 28 Jan 1993 11:26:15 GMT

Dear all Violin Expert,

	What is the use of the piece of metal which players sometimes put in
near the 'arc' of the violin? Is there any specical name for this and what
is the notation in the score?

	Secondly, what is the name of method of playing violin using your
finger instead of the bow? Why does composer use this and when did it start?
How is the notation of this method denotes in the score?

Thanks for any answer.

Raymond
-- 
Mr. Raymond Chan,   ( 2nd Year SSLC representative ) 
Deptartment of Computer Science, 
University of Warwick, Coventry, CV4 7AL, ENGLAND.
wing@dcs.warwick.ac.uk   OR   csuau@csv.warwick.ac.uk
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Information for "Chorus!" from Chorus (Russia, Moscow)
Date: 21 Jan 93 05:06:18 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

[My apologies to the 'rec.music.classical' readers for taking up
bandwidth by posting this reply, but I am uncertain that my
electronic mail reply will successfully get to its intended
destination.  Thanks for your patience. --MG]

In article <AFaMeLhSj8@vntic.msk.su> chorus@vntic.msk.su writes:
>Diar friends,
>We represent the Academic chorus conducted by Sergei Strokin
>(Moscow, Russia). We'd like to know more  information  about
>your "Chorus!" in order to  possibly  establish  proposional
>and/or friendly contacts.
>                                     A. Kadosov - director
>                                     B. Tarakanov - president
>                                     N. Khakhulina - secretary
>chorus@vntic.msk.su
>tarakanov@adonis.ias.msk.su


Greetings,
  We would like to know more about your chorus and establish
friendly contacts.
  "Chorus!" is a publication about choral music.  It is
published monthly.  We feature interviews, news, reviews, a
calendar of concerts, and other articles about choral music.
  Please send to us information on about your chorus, plus
an address where we may send sample copies of our publication.
Our postal address is:

Chorus!
2131 Pleasant Hill Road
Suite 151-121
Duluth, GA 30136
USA

Cheers,

--Mark Gresham
Editor
"Chorus!"
dscatl!mgresham@gatech.edu
=====

Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Define "Well Tempered"
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Sun, 24 Jan 1993 03:15:02 GMT

In article <1jstvlINNbe5@calvin.usc.edu> William Alves writes:
>Well, circular, and meantone temperaments as classes don't say anything
>about the preference for certain intervals. Instead, well simply means
>all keys playable, but some the more common more playable. Circular means
>all keys playable, but the differences are spread throughout the circle
>of fifths.

Thanks for this clarification of the definitions.  One further question
just to be sure: is meantone a type of well temperament?

>Inharmonicity is the tendency for the harmonics of stretched strings to
>get gradually more sharp due to the stiffness of the material. Because
>our ear determines pitch both through the pitch of the fundamental and
>the rest of the partials, inharmonicity can make a difference to the
>perceived pitch, depending on the relative loudness of the partials.

Ok.  I can hear this effect.  I think it is worth mentioning, when talking
about the definition of equal temperament, that it is not "equal" on the
piano.

T. M. McComb
From: bobg@pacesetter.com (Robert N. Girard)
Newsgroups: rec.music.classical
Subject: Re: Help! Suggestions needed in memorizing music?
Date: 26 Jan 93 01:28:53 GMT
Distribution: na
Organization: Siemens Pacesetter, Inc.


The current issue of _Guitar Review_ (No. 91, Fall 1992) contains an article
by Alicia Kopfstein-Penk entitled "The Art of Memorization," which breaks the
phenomenon of memory into five components: 1) physical kinesthetic ("muscle
memory"), 2) mental kinesthetic, 3) visual, 4) aural, and 5) structural; and
then addresses memorization techniques for each component.  There is also
discussion of memory improvement (including physiological factors) and memory
reinforcement. This article is not instrument-specific, and includes a pretty
good bibliography pointing to additional literature on the subject.


-- 
______________________________________________________________________
Bob Girard                        Pacesetter Systems, Inc., Sylmar, CA
bobg@pacesetter.com                              (818) 362-6822, x2806
_________ "Everybody got to deviate from the norm."  -- Rush _________
From: jacob@max.cc.brandeis.edu ( )
Newsgroups: rec.music.classical
Subject: tonal value of chords and harmonic series [?]
Date: 27 Jan 93 07:57:38 GMT
Organization: Brandeis University Math Department

using the harmonic series (or "resonance" as some say) to determine
the tonal value of a chord (the degree on which it sits, as it were)
consists of two assumptions (maybe verified in actual perception or
not, that is irrelevant to my point here, although i'm interested to
hear about experiments testing their validity, and especially the precise
domain in which they are valid)

one assumption is that the brain will try to interpret a chord as a
complex sound and the second that it will give it a tonal value
corresponding to the pitch class of the sound it has reconstructed as
a fundamental.

this hypothesis was rameau's basic discovery along with the "naturalistic"
model that "justifies" or "explains" much of tonal harmony.

now in describing how this reconstruction of the fundamental is actually
peformed, rameau's model involved complicated and arbitrary assumptions
(equivalence of octaves, layering of thirds)

worse, it failed to account for some important facts of the harmony
of his time, such as that the tonal value of the minor triad
is the same as the pitch (class) of its bass, and it fails even more
completely, ex post facto, with chords used later: for example
according to rameau's model the chord
C-E-G-A, i.e. a major triad with an added 6th should be a VI chord,
lying on A whereas everbody knows it is a tonic chord lying on C

now my question is: is it true that people have all but stopped trying to
justify the tonal value of the minor triad based on "resonance" arguments,
even when they've kept the harmonic series to justify other parts of the
system?

i'm asking this because, i believe that i have got a way to justify the
minor triad and the major triad with added 6th using a very simple
extension of rameau's idea. i'm just curious if somebody has seen anything
like that anywhere, that made any sense? (as i think my idea makes sense :-)
i'm of course not interested in hearing
about negative harmonics and "additive" principle)

anyway, my impression was that people have long ago stopped trying to use
the harmonic series, at all, to justify harmonic facts, let alone to
deal with minor triads. but (as usual) i might be wrong...

i'd be grateful if anyone could indicate to me somesuch attempt, and
incidentally, i'd like to hear of psychology experiments testing
the assumptions on which rameau's idea is based.
From: maverick@mahogany.CS.Berkeley.EDU (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Classical Music for modern instrument (was Re: The shortest distance between two chords is...)
Date: 24 Jan 1993 19:13:33 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: mahogany.cs.berkeley.edu

In article <1993Jan22.190720.16130@Princeton.EDU>, roger@crux.Princeton.EDU (Roger Lustig) writes:
|> [I wrote, in connection with the idea of market forces favoring
|>  unadventurous versions of formerly exciting music]
|> >We're seeing something similar now in the world of jazz, with
|> >the recent wide popularity of 50's-style post-bop.  (I won't mention
|> 
|> We're seeing wide popularity!  Not common in the jazz world...

I think the current popularity of this conservative strain
in jazz bears comparison to the Dixieland craze of the 50's.

|> For that matter, most *classical* music is bad and unadventurous.  We
|> just don't hear it on the radio that often.

I hear plenty of bad and unadventurous classical music on the radio --
not to revive that boring old thread.

	Vance
Newsgroups: rec.music.classical
From: rwilmer@zinka.mitre.org (R. Wilmer)
Subject: Re: Schipa, Gigli, and Tagliavini
Organization: Mitre Corporation, McLean, VA
Date: Mon, 25 Jan 1993 16:41:40 GMT

In article <1993Jan24.061946.5218@timessqr.gc.cuny.edu> kos@cunyvms1.gc.cuny.edu writes:
>In article <1993Jan24.050005.1912@walter.bellcore.com>, hsong@ardour.bellcore.com (G. Hugh Song) writes:
>>Whenever I hear the voices of tenors of good ol'days, I get puzzled.
>>How much would they be appraised if they were living these days.
>>Caruso, Schipa, Gigli, ...
>>My point is that I do not really know how their voices really sound
>>like.  Their voices are heard these days by the recordings made in the 30's.

When I was a teenager I heard Tito Schipa on his farewell tour
in New York in 1963.  I was greatly impressed and followed him to the
next touring stop (New London) to hear the same recital.

I thought he was the finest tenor I had ever heard (and I greatly
admired live performances of Bergonzi, Corelli, Gedda, and Tucker; and
recordings of Bjorling, Valetti, Suthaus, and Caruso).  What was great about
Schipa was the effortless and smooth projection of the bel canto
line:  his legato was far smoother than any other tenor I had
heard.  His singing had an effortless float to it that I only
experienced elsewhere listening to Zinka Milanov at the Met.
Indeed recordings of Schipa are not capable of reproducing the
experience of a connected, legato vocal line floating through
a theater.  There was also a simplicity, honesty, and elegance
in his musical style, that were borne out in his personality
when I talked to him backstage and was impressed by his gentleness,
humility, and enthusiasm.

Schipa's tour had an important influence on my own later study
as a singer.  Schipa's tour eventually took him to Austin, Texas.
There a young voice student, Bruce Brewer, heard the same bel canto phenomenon
I did and eagerly asked Schipa if he could study with him.
Schipa directed Brewer to a former singing partner, Josephine Lucchese,
who lived in San Antonio.

Nine years later I was a music student in Paris, and for the
second time heard another tenor with that flawless legato bel
canto line.  It was Bruce Brewer singing Arturo in I Puritani.
I asked Bruce about his training, and he said he had spent the
last nine years studying with Josephine Lucchese.

I moved to San Antonio and studied daily for a year and a half
with Lucchese, when she suddenly died of a heart attack.
Then I moved to Arlington, Virginia, (where I still live) to study
with Bruce Brewer.  Later he moved to Paris (he now sings
with La Scala and the Paris Opera) and I began six
years of study with Zinka Milanov.

Richard
From: paul@cgh.cgh.com (Paul Homchick)
Newsgroups: rec.music.classical
Subject: Re: Sunday morning music selection
Date: 24 Jan 93 16:25:54 GMT
Distribution: na
Organization: Chimitt Gilman Homchick, Inc.

Sunday morning music:

1) Bach.  Any Bach, though the Cantatas, and the Partitas and Sonatas
for solo violin are at the top of my list.  Besides, if you are
listening to music on Sunday morning instead of sitting in church,
having Bach on the program will make you feel better. ;-)

2) St. Paul Sunday Morning, on American Public Radio.  There's no
telling what you will hear from this radio program, but you can be
assured that it will be informative, tasteful and perfect for a Sunday
morning.
-- 
Paul Homchick                    :UUCP     {rutgers | uunet} !cbmvax!cgh!paul
Chimitt Gilman Homchick, Inc.    :Internet                       paul@cgh.com
1111 West DeKalb Pike, Suite 101 :MCI                               PHOMCHICK
Wayne, PA  19087-2179            :GEnie                              HOMCHICK
Newsgroups: rec.music.classical
From: tony@cs.city.ac.uk (Tony Valsamidis)
Subject: Re: I need CD recommendations of Bach's Sonatas and Partitas Vln Solo
Organization: Systems Architecture Research Centre, City University, London
Date: 21 Jan 93 16:11:36

I would recommend Felix Ayo's performances. Sorry I haven't got
details of label.
--

Tony Valsamidis				Email : tony@cs.city.ac.uk
Systems Architecture Research Centre	Tel: +44 71  477 8551
Computer Science Department, City University, London, UK, EC1V 0HB