HDTenEightyP/NetNews huggingface dataset:
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: need review of New Haven "Alto Rhapsody"
Date: 23 Nov 92 16:35:34 GMT
Distribution: usa
Organization: Digital Systems Co., Atlanta GA

Is anyone in the New Haven area going to attend the
November 24 concert of the New Haven Symphony/New Haven Chorale
performance of Brahms' "Alto Rhapsody" and "Nanie" at Woolsey Hall
8:00pm?

I would like a review of that concert for publication in the
upcoming issue of "Chorus!"  Interested parties should
e-mail me promptly.  If you read this after the 24th, still
e-mail me if you attended the concert.

Thanks in advance.


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

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


Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel)
Subject: Re: Speaking of the Solti Ring...
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Date: Tue, 17 Nov 92 22:46:57 GMT

In article <2B0918F2.7952@news.service.uci.edu>, jdooley@maemaster.eng.uci.edu (John R. Dooley) writes...

>I'm 99% sure that London has the Solti cycle (in an 18 CD set) at
>mid-price.  In fact, lately I've seen it even cheaper because
>they have some boxes tagged for the price of 15 discs with 3
>thrown in for free.  (So, now's your chance to make that Wagner
>lover happy this holiday season.)
> 

My Solti Ring on CD is 15 CDs, not 18, so maybe it's 15 on sale for 12??

Ron
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: HAYDN
Date: 23 Nov 1992 17:49:31 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Kiwi (kldawkin@napier.uwaterloo.ca) wrote:
: In article <1dvkchINNquk@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
: >Kiwi (kldawkin@undergrad.math.waterloo.edu) wrote:
: >: >: They say he was one if not the most prolific composers of the
: >: >This to me is a fairly apt description of Mozart.
: >:  ^^^^^^^^^^
: >: 	And *this*, to me, is the statement of someone, who, in
: >: 	an attempt to profess great knowledge, takes what he sees
: >: 	as a radical stance, and instead comes off looking
: >: 	somewhat blindly opinionated.
: >And *this*, to me, proves you have no sense of humour, and no great
: >talent at invective. 
: Wrong, I have both. Your logic is at fault.

No, it is you are at fault. I can only be erring in fact, not logic. 
I felt there was sufficient evidence, so I induced a conclusion. 

Besides - 1) not liking Mozart is no great radical stance.
		Many others before and I dare say after me will express
		the same opinion. 

	  2) While I have possess knowledge, I don't profess to anything
		beyond a mild attachment to the Anglican faith.
		How does one "profess" knowledge? 

	  3) I give no evidence of a blind opiniation. I merely stated
		that what you felt about Haydn, I felt about Mozart
		Surely I can no more be so opinionated than you.

The fact that you gave such a lame and humourless response shows 
sufficient evidence to warrant the opinion I expressed. If I err in 
my opinion on this matter, then it is because no evidence to the contrary
has been presented. That is a contingent error (one based on facts) not a
error in logic.

Meanwhile, other readers of r.m.c, more generous and spirit and kinder
in tone, have suggested pieces of Mozart that might move me to change
what is after all an opinion born of experience, not prejudice.
From: amadeus@ccwf.cc.utexas.edu (Susan Harwood Kaczmarczik)
Newsgroups: rec.music.classical
Subject: Re: Bassoonists?
Date: 21 Nov 92 21:09:02 GMT
Organization: University of Texas at Austin


Here I am, standing up to be counted -- someone who not only plays but
actually has a degree in bassoon performance.  There are more of us
out there, but I do understand your frustration.  Especially since
most of the answers to your plea so far seem to consist of bassoon
humor by non-bassoonists.  :)

So what parts of the repertoire do you particularly enjoy? (Answering
the Mozart concerto is not allowed.) I'm partial to baroque music
myself, especially the Vivaldi concertos and sonatas by Boismoitier,
Bertoli and the like.

I'll refrain from making any of the jokes dependent on the
instrument's German and Italian names and just sign off now...

-- 
-----Susan Harwood Kaczmarczik-------------------------------*<:-)-------------
"Queens never make bargains."  -- The Red Queen, _Through the Looking Glass_
-----amadeus@ccwf.cc.utexas.edu--------------The University of Texas @Austin---
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: tonality and modern music
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Wed, 18 Nov 1992 07:50:10 GMT

In article <1992Nov18.002107.24042@credence.com> jeffw@or.credence.com (Jeff Winslow) writes:
>In article <x#w1+yc@rpi.edu> mccomt@aix.rpi.edu (Todd Michel McComb) writes:

>[very many true and wonderful things]

>>       There is also an explosion of musical experiences available from
>>all over the world: from India, Indonesia, China and the Middle East.  These
>>powerful and varied traditions are to me the most damaging evidence against
>>assigning any priority to the "traditional" tonal idiom.  Clearly, these
>>cultures have produced and are producing direct and powerful music in an
>>"atonal" idiom. 

>This is the only thing I really balk at. Certainly no other culture's
>traditional music is based on what we call "functional harmony", but
>I would be very surprised to find music from a non-western tradition
>which neither a) has a pitch center, or b) doesn't use some (probably
>unequal-tempered) version or subset of a diatonic scale. 

Well, there's an Egyptian 5-equal scale, for what it's worth.  Also,
many musics use supersets of the diatonic scale or something like
it.  See India, for instance.

Roger

Newsgroups: rec.music.classical
From: smoliar@whitehead.iss.nus.sg (Stephen Smoliar)
Subject: Re: Cage's 4'33"
Reply-To: smoliar@iss.nus.sg (Stephen Smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Sat, 21 Nov 1992 02:04:21 GMT

In article <1992Nov16.212805.29403@viewlogic.com> brad@buck.viewlogic.com
(Bradford Kellogg) writes:
>
>I saw a video of a live performance of this piece. I think it was David
>Tudor who performed it, but I'm not sure. In any event, he raised and
>lowered the lid as you describe, but he also used a stop or pocket watch,
>which he picked up and looked at periodically. 
>
As I recall, Peter Greenaway's documentary includes excerpt from a performance
which Cage gave at the entrance to Harvard Square station.  He had a piano set
up in front of the newsstand there, and I seem to recall that he had a stopwatch
sitting on the piano.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Looking for a source for composer prints
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Wed, 18 Nov 1992 04:49:00 GMT

In article <1992Nov17.160009.910@Princeton.EDU> roger@astro.princeton.edu (Roger
 Lustig) writes:

>>Anyone know a good source for prints of composer portraits?  I'm looking for
>>prints such as the standard portrait of Bach (the one where's holding a sheet
>>of music paper),

>The Hausmann Portrait.  btw, there's a canon on the sheet of paper.

I've never had an accurate enough rendering of it from which I could read
the score.

>>the painting of Mozart and Nannerl at the piano with Leopold
>>standing with his violin, etc.
>
>Patelson's sells this sort of thing.  Give 'em a call.  No number handy,
>but they're on 56th St, just behind Carnegie, not that you don't know
>that, Gabe...8-)

Yah, I've been to Patelson's just a few times. :-)  One of the few stores
in which I have a house charge.

One of the most unique music stores in New York.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Rachmaninoff
Organization: Visual
Date: Thu, 19 Nov 92 19:23:40 GMT

Richard Smith writes:

>ugh, ugh, ugh.

Tut, tut.  Even the "Symphonic Dances"?  :-)

Rob
From: ronthal-adam@yale.edu (Adam Ronthal)
Newsgroups: rec.music.classical
Subject: Re: Considering 4'33''
Date: 17 Nov 1992 00:39:47 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu

I think John Cage was a poser.  Go ahead, flame me, but you'll never 
convince me that he had any real talent.

Adam

-- 
   /|\  /|~\   Adam M. Ronthal BR'94    |    ronthal-adam@yale.edu	
  /-| \/ |_/   P.O. Box 607 Yale Stn.   |    ronthal@minerva.cis.yale.edu
 /  |    | \   New Haven, CT   06520    |    ronthal@pop.cis.yale.edu
From: hal@radio.wkar.msu.edu (Hal Prentice)
Newsgroups: rec.music.classical
Subject: Re: BRAHMS
Date: 18 Nov 92 15:05:53 GMT
Organization: Broadcasting Services, Michigan State University

In article <1992Nov12.181737.11922@midway.uchicago.edu> hcresnic@quads.uchicago.edu (hugh carney resnick) writes:
>From: hcresnic@quads.uchicago.edu (hugh carney resnick)
>Subject: BRAHMS
>Date: Thu, 12 Nov 1992 18:17:37 GMT
>
>Well, I'm a minority voice here, but Brahms a cappella choral music is 
>something _I_ die for. I know that they're not major works in the sense 
>that the Violin Concerto or the German Requiem is, but they do show on
>a more immediately apparent level what a craftsman Brahms was. And, no,
>thy're not just nice from a craft point of view, but they're also wonder-
>ful to listen to.

Absolutely!!!  Brahms really hit his stride with his a cappella choral 
music.  I think it is some of his finest work.

----------------------------------------------------------------------
Hal Prentice, FM Program Manager      Michigan State University
WKAR-FM, 283 Communication Arts Bldg  East Lansing, MI 48824-1212 USA
Internet: hal@radio.wkar.msu.edu      Bitnet: hal@radio.wkar.bitnet
----------------------------------------------------------------------
Newsgroups: rec.music.classical
From: bjh42543@uxa.cso.uiuc.edu (Brian J. Haag)
Subject: Re: Pictures at an Exhibition
Organization: University of Illinois at Urbana
Date: Mon, 23 Nov 1992 19:59:36 GMT

an405_arca@hg.uleth.ca writes:

>Pictures at an Exhibition was composed by Russian composer Modest 
>Mussorgsky.  There are to versions of this work- the original 
>version was written for piano.  I believe that it was Rimsky-Korsakov
>who orchestrated "Pictures" for orchestra.  Unfortunately, I do not know
>of any good recordings and would also like to know what people suggest,
>as I am also looking for a recording of this.

I think that I have heard about Rimsky-Korsakov doing a version, but by
far the more popular (read more frequently-performed, not better) version
is by Ravel.  My personal favorite for the orchestra version is Solti's
recording with the CSO, coupled with an equally good Bartok Concerto on
mid-priced London.

Brian J. Haag
bjh42543@uiuc.edu
bhaag@nyx.cs.du.edu

Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (Stephen Smoliar)
Subject: Re: Florence Foster Jenkins
Reply-To: smoliar@iss.nus.sg (Stephen Smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Tue, 17 Nov 1992 22:23:07 GMT

In article <1e73o4INN5rg@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid
Pigott) writes:
>
>I should recommend the Scratch Orchestra and the Portsmouth Sinfonia,
>who were to the symphonic reportoire what FFJ was to opera. Their Hall
>of the Mountain King, William Tell Overture and Hallelujiah CHorus are
>etched into my memory.
>
The effect may be the same, but the philosophies were certainly different.  As
far as we can tell, Jenkins had serious designs on a concert career, even if
she had to finance everything out of her own pocket.  (Would that Margaret
Dumont had been cast in a film of her life story!)  Cardew's experiments,
on the other hand, were intentionally designed to turn our perceptions of
"concert career" on its head, with respect to both performers and audience.
This is not to say that we cannot have fun listening to the results, but those
results were not products of warped illusions.  Whatever one may say about
Cardew's politics, their results in this particular case were wonderful.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: representative classical list
Organization: UCLA Mathematics Department
Date: Wed, 18 Nov 92 02:54:21 GMT

In article <g8ReuB3w165w@student.business.uwo.ca> r4smith@student.business.uwo.ca (Richard Smith) writes:
>Not a bad list, but not really representative. Some suggestions:

>2) Add Liszt Piano Sonata in B-minor (cyclical composition)

Agree !

>3) add Debussy preludes bk 1 and 2

Agree again!

>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)

True.

>7) Berg then Reich???? How about Webern 6 pieces for Orchestra, then 
>Boulez "Le marteau sans maitre" the Penderecki's "Threnody" 
>
Disagree. I think the Reich Desert Music is an excellent recommendation.
What was the Berg? Violin concerto. Definitely include that.

Why isn't Schoenberg's Piano Concerto on this list ??!!

David

--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
Newsgroups: rec.music.classical
From: an405_arca@hg.uleth.ca
Subject: re: Pictures at an Exhibition
Reply-To: an405_arca@hg.uleth.ca
Organization: University of Lethbridge
Date: Fri, 20 Nov 1992 17:52:01 GMT

Pictures at an Exhibition was composed by Russian composer Modest 
Mussorgsky.  There are to versions of this work- the original 
version was written for piano.  I believe that it was Rimsky-Korsakov
who orchestrated "Pictures" for orchestra.  Unfortunately, I do not know
of any good recordings and would also like to know what people suggest,
as I am also looking for a recording of this.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Music to quiet down...
Organization: Camosun College, Victoria B.C, Canada
Date: Sat, 21 Nov 1992 00:49:12 GMT

In article <3344@voodoo.UUCP>, 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,

How about: Mahler: Symphony No.6
	   Stravinksy: The Rite of Spring
	   Stockhausen: Gruppen
	   Boulez: PLi Selon Pli

:-)

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: #1 Brahms & Wagner #2 Brahms & Rachmaninov
Organization: Credence Systems Corp. Beaverton, OR
Date: Wed, 18 Nov 1992 00:32:54 GMT

In article <1992Nov16.192037.22169@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:

>Brahms could never have written anything like the cadenza of Prokofiev's
>2nd piano concerto - a staggeringly difficult and impressive piece of
>piano writing.

Well, maybe not. But then, he had written his own staggeringly difficult
and impressive (and I mean the adverb to apply to both adjectives) 2nd
piano concerto.

If one can wish for anything in heaven and get it, I would wish to play
this piece with perfect shape and control. (As it is I can't get through
it in a style even my mother could love.) The lead in to the first
orchestral tutti... the lead in to the recapitulation of the 1st movement...
the last page of the 2nd... nearly all of the 3rd... the big A -> F9 in the
last (hey, just like the recap of the 1st, whaddya know?)... who needs sex
when you can have all this?

Well, OK, just a little :-)

						Jeff Winslow
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Help Required. Dodecacophony. ;-)
Date: 16 Nov 1992 10:05:52 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Roger Lustig (roger@crux.Princeton.EDU) wrote:
: >And what about all those I-IV-V songs, Roger?  :-)
: 
: Actually, the blues has a harmonic rhythm that's quite different from
: the uses of the "primary" triads in Western art music in general.  You
: have to go back to Banchieri and the like to find anything like it.

Actually there is one of the string concerti by Vivaldi that has
definite bompa-bompa R&B rhythm and modality. I've even heard someone
play (extraordinarily tasteless) lead guitar on top when I lent him the
tape (for a joke - there was no intellectual programme involved).

I might also mention the immortal slide-guitar solo shoved down the
throat of Boccherini's minuet by the "Fantastic Pikes play switched on
Popcorn". But then again I might not.
Newsgroups: rec.music.classical
From: rodean@fc.hp.com (Bruce Rodean)
Subject: Re: Rachmaninoff's cello or 2nd?
Date: Thu, 19 Nov 1992 03:22:39 GMT
Organization: Hewlett-Packard Co., Fort Collins, CO
X-Newsreader: TIN [version 1.1.8 PL6]

bamn@venus.ycc.yale.edu wrote:
> 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 have the coupling of 2nd symphony and vocalise conducted by
> andrew litton.  EXCELLENT! i recommend it without hesitation
> its on Virgo (i think) and the recording engineers have done and awesome job
> naren
> chemical engineering
> yale university

I will second the Litton recommendation.  It's on Virgin Classics BTW.
All three Rachmaninov symphonies are coupled with another work and they
are generously filled.  I have the 2nd as noted, and have heard the 1st
that includes Isle of the Dead borrowed from the public library.

--
Bruce Rodean                          Hewlett-Packard Company
rodean@fc.hp.com
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: #1 Brahms & Wagner #2 Brahms & Rachmaninov
Organization: UCLA Mathematics Department
Date: Wed, 18 Nov 92 17:25:32 GMT

In article <1992Nov18.003254.24104@credence.com> jeffw@or.credence.com (Jeff Winslow) writes:
>In article <1992Nov16.192037.22169@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
>
>>Brahms could never have written anything like the cadenza of Prokofiev's
>>2nd piano concerto - a staggeringly difficult and impressive piece of
>>piano writing.
>
>Well, maybe not. But then, he had written his own staggeringly difficult
>and impressive (and I mean the adverb to apply to both adjectives) 2nd
>piano concerto.
>

I suppose I'm being a little unfair on Brahms. His musical style doesn't
really lend itself to the pianistic gymnastics of Prokofiev or Scriabin.
Brahms P.C. 2 is difficult but I don't think it is anywhere near as
technically difficult as Prok. P.C. 2. I'm talking about just playing the
notes rather than playing expressively.

David


--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
Newsgroups: rec.music.classical
From: jon@alex.com (Jonathan Heitler)
Subject: Re: The worst composer ever
Organization: Alex Technologies Ltd
Apparently-To: mail2news@gate.demon.co.uk
Date: Mon, 23 Nov 1992 19:07:00 +0000

In article <g8FkuB7w165w@student.business.uwo.ca>, r4smith@student.business.uwo.ca (Richard Smith) writes:
|> 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.
|> 
|> r4smith@student.business.uwo.ca (Richard Smith)
|> Western Business School  --  London, Ontario

Identifying worst composers is the same as trying to find your worst
poet or collecting really hideous things. As soon as you start really
looking at things that are consistently horrible, you start to love them.
People quote there least favourite things all the time and look on their
collections of monstrosities with tenderness.

So I don't think I can have a worst composer, because as soon as I admit
it, I'll start to love him. (Hmmm maybe I should actively hate Wagner...)

	Jonathan.
Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Music to quiet down...
Organization: School of Computer Science, Carnegie Mellon
Date: Sat, 21 Nov 1992 07:31:54 GMT

In article <1992Nov21.041323.22624@news.acns.nwu.edu> ssc@nwu.edu (Steven Chung) writes:
>Perhaps Bach's Goldberg Variations?  Yes music is about the generation and
>
>At any rate, I'd recommend Glenn Gould's 1955 recording.

I find that the least-*relaxing* recording of the Goldberg that I've ever
heard.  When I played a bunch of recordings back-to-back for a friend who
is not into classical, he jokingly described the '55 Gould as a "rock
version" of the piece (or the "dance mix", or something to that effect).

-chris
Newsgroups: rec.music.classical