HDTenEightyP/NetNews huggingface dataset:
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical,rec.music.misc
Subject: Questions on a long, thin, wire
Date: 30 Dec 92 15:28:17 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Distribution: usa
Organization: Heurikon Corporation, Madison, WI

Lazlo Nibble has a question for another smug r.m.m. old-timer:
>>This follows right on the heels of a re-release of Alvin Lucier's "Music
>> on a Long, Thin Wire"  
>Was this album spawned from the installation at Winrock Center in Albuquerque?

Actually, Lucier's long, thin, wire (note to the uninitiated. It's a
very long string which is driven/excited using the usual magnetic
voodoo in one of those complicated nonlinear loops. It'll either 
strike you as cool or wallpaper. I think it works better in real life,
given that it looks so darned mysterious and has such *presence* as
an installed thing. The recording's pretty cool, though - and much 
easier to take if you fall into the category of folks who don't mind
pieces of music which are systems created, and then allowed to run
their course and entertain the masses) has been all over the place.
This CD is a reissue of a recording from, oh, the late 70s? Lucier
is very quietly putting out a bit of his older "conceptual" catalog
[pieces like "I am Sitting In a Room", which takes a recording of his
voice and then plays it back through speakers in a room and then records
that and plays it back and records it again and then repeats this whole
process and strings the results all together until the voice recording
is transformed into these graceful waves or resonance and feedback],
and they appear to be reissues rather than re-recordings. Some of the
re-releases on Lovely (such as David Behrman's "Leapday Night" or Kosugi's
"Improvisations") seem to include new tracks when they're re-released.
This one doesn't.
--
The law moves quickly in the rain/and chokes the world with memorials./The
courts accept the lowest superstition/into evidence. And we embrace quickly in
the rain,/conceiving a hale infant with hands to wrinkle/the bedsheets toward
it, wave by trough by wave./Gregory Taylor/Heurikon /Madison, WI/608-828-3385
Newsgroups: rec.music.classical
From: jacob@max.cc.brandeis.edu ( )
Subject: footnote on vicent d'indy
Organization: Brandeis University Math Department
Date: Tue, 22 Dec 1992 02:44:41 GMT

i've just read a few pages from vincent d'indy's "cours de composition"
(more precisely volume 3, around p. 120, "la periode judaique" in
french music...)

there's no doubt in my mind now that roger lustig was right (btw i was
never questioning his statement, just stated my surprise in view of what
i knew) and i'd be surprised that the d'indy's opera "st cristopher" could
be antisemitic in anything but a very vicious way -- although i haven't read
the libretto, from what i've read in the "cours de composition" i'd be
surprised if we were merely be dealing there with "traditional new testament
type antisemitism."

i'll let anyone interested read the above excerpt for themselves.
just an amusing observation: there's a footnote of the editor (i didn't
check to see who it was) saying that we shouldn't conclude from d'indy's
"remarks" that he was "d'un antisemitisme farouche et intransigeant",
after all (writes the editor) he was a great friend of paul dukas (who
i didn't know was jewish). in other words "some of his best friends
were jewish"...

the question remains open as to what interest d'indy might have had in
the works of a semite incapable of creative activity such as salomone
rossi, but i guess i'll try to solve that one another day.



Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Beethoven's No. 4 symphony
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 22 Dec 1992 03:40:11 GMT

In article <1992Dec21.043718.13218@nuscc.nus.sg> isc20178@nusunix1.nus.sg (ER HIOK SONG) writes:
>I need opinions of Beethoven's no. 4 symphony. I am in the university
>orchestra and we're going to try it next year. It would be great if
>someone who has played this symphony can tell me about the piece. Thanks
>in advance.

To listen to: sheer delight.

To play: sheer hell.  VERY difficult.  Start practicing now.  If you play
bassoon, start PRAYING now.  8-)

Seriously: it's a wonderful piece that just doesn't get played much because it
is too hard for orchestras to perform at a high level.  Only the 8th and 9th
are as hard to play.  

Anyway, a good recording will tell you a lot.  Do you know any other
Beethoven symphonies?  Get to know a few.

Roger

Newsgroups: rec.music.classical
From: ca_ac@gsbacd.uchicago.edu
Subject: Re:survey:favorite piano concerto
Organization: 
Date: Fri, 25 Dec 1992 19:09:36 GMT

Just realized that I didn't sign my name at the end of the posting.
						Alak Chakravorty.
Newsgroups: rec.music.classical,rec.music.misc,aus.music
From: snippy@yoyo.cc.monash.edu.au (Lynette Bromage)
Subject: Shakespeare and Music
Organization: Monash University General Access Unix
X-Newsreader: TIN [version 1.1 PL8]
Date: Sun, 27 Dec 1992 23:53:52 GMT


For my thesis, I am looking for copies of solo songs with Shakespearian words.
The following list not available locally. If you have any of these and are
prepared to loan them please contact me directly. I am prepared to pay any
postage.

Thanks in advance

Lyn Bromage   snippy@yoyo.cc.monash.edu.au
	Phone +61 3 726 4772
	(within Australia 03 726 4772)


The Poor Soul Sat Sighing (Willow Song)
	music by Coleridge Taylor, German, Parry, Vaughn Williams

O Mistress Mine
	music by Coleridge Taylor, Armstrong Gibbs, Parry, Sullivan, V. Williams

Come Away, Come Away Death
	music by Armstrong Gibbs, Shaw, Sibelius, V. Williams

When That I Was and a Little Tiny Boy
	music by Armstrong Gibbs, Shaw, Sibelius

Who is Sylvia
	music by Coates, German, Thiman

Fear No More the Heat of the Sun
	music by Davies, Howells, Jacob, Parry, Thiman

Orpheus With His Lute
	music by Coates, German, Armstrong Gibbs, Somervell, Thiman,
	 V. Williams

When Daisies Pied
	music by Shaw

Sigh No More Ladies
	music by Coates, Shaw, Sullivan, V. Williams

Full Fathom Five
	music by Bantock, Shaw, V. Williams, Wilton

Under the Greenwood Tree
	music by Bartlett, Coates, Dunhill, Howells, Jacob, Moeran,
	 Noble, Somervell, Shaw

Blow Blow Thou Winter Wind
	music by Bridge, Armstrong Gibbs, Noble, Parry, Shaw, Somervell,
	 Swann

It Was A Lover and His Lass
	music by Bridge, Coates, Delius, Armstrong Gibbs, German, Swann,
	 V. Williams
From: casseres@apple.com (David Casseres)
Newsgroups: rec.music.classical
Subject: Re: Sviatoslav Richter
Date: 18 Dec 92 22:17:50 GMT
Followup-To: rec.music.classical
Organization: Apple Computer Inc.

In article <1992Dec11.161136.24309@visual.com>, rwh@visual.com (Rob Holzel)
wrote:
> 
> 
> My own favorite Richter recordings.  These are all in good-to-
> excellent sound:
> 
> Rachmaninoff Piano Concerto #2 (DG)
> Dvorak Piano Concerto/Schubert "Wanderer" Fantasy (EMI)
> Schubert "Winterreise" (with Peter Schreirer[sp?]) (Philips)
> Bach Well-Tempered Clavier  (already mentioned)
> Brahms Concerto #2/Beethoven "Appassionata" Sonata (RCA)
> 
> 
> And the one recital that would place him at the top of the list,
> even if no other proof was available:
> 
> Chopin Scherzos (Eurodisc/Melodyia)  (Unfortunately not available 
>            in the States, but I managed to tape a copy)
> 
> He does the Rachmaninoff Preludes like no one else, also.

Another gem is the Beethoven Triple Concerto, with Rostropovich and
Oistrakh, and von Karajan conducting the Berlin Philharmonic.  I've never
heard another recording of this that achieves the magic balance among the
piano, cello, violin, and orchestra.

--

David Casseres
Exclaimer: Wow!
Newsgroups: rec.music.classical,rec.music.misc
From: marcs@slc.com (Marc San Soucie)
Subject: Re: FYI: Lovely Music....
Organization: Servio Corp, Beaverton Oregon, US
Date: Wed, 30 Dec 1992 02:46:18 GMT

Gregory Taylor (gtaylor@vme.heurikon.com) writes:

> 	Lovely Music
> 	260 West Broadway
> 	NYC NY 10013

> Also on their upcoming release list is a couple of Lovely Music
> "Chestnuts": Meredith Monk's "Key" on CD, along with Paul Dresher's
> "Liquid and Stellar Music/From the Same Temple". On the new release
> list, there's work from William Duckworth (choral) called "Southern
> Harmonies", some electronic work from Yasunao Tone, and Ashley's
> "Alice Afficianado" (jeepers - do I have the title right?) in the
> coming year. This follows right on the heels of a re-release of
> Alvin Lucier's "Music on a Long, Thin Wire" and a new Roger
> Reynolds: "Voicespace."

What a wonderful label they are! Keepers of the One True Flame!


> P.S. The context of this was an entire show of works on vinyl that had
> never seen release on CD. A scene from the Ashley *and* from Dresher's
> guitar/tape delay piece "Liquid and Stellar Music" were *both* on the
> playlist.

Add to that the original LP performance of "The Bar" from Perfect Lives, a 
performance which far outstrips the muted and mannered replacement in the 
full opera issue.

    Marc San Soucie
    Portland, Oregon
    marcs@slc.com
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Berg
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Thu, 24 Dec 1992 06:22:11 GMT

In article <1992Dec23.170740.16536@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:

>In article <1992Dec23.061618.13164@Princeton.EDU>, roger@crux.Princeton.EDU (Roger Lustig) writes:
>|> In article <1992Dec22.173348.9371@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:

>|> >Of course, the music is not exactly melodic in the old fashioned sense,
>|> >with Berg following the 12 tone model. 

>|> Say what?   Are you *sure* you've been listening to Wozzeck?  Much of 
>|> the music *is* melodious (expressly intended that way) and there are 
>|> no tone-rows in the piece, which is not surprising, given that Berg
>|> composed it before Schoenberg had shared any of his 12-tone ideas with
>|> anyone.

>Okay, okay, I guess I need to be more careful. Yesterday I was called on
>the carpet for identifying it as "12 tone", which it is not as Schoenberg
>would have written it, but which it is in a looser sense, isn't it? Have

No.  "12-tone" is *not* a synonym for "atonal."  Much atonal music has 
nothing to do with rows or 12-tone aggregates.

>you seen the score? Is there a key signature anywhere in it? If there is, 
>I stand corrected. 

a) My score is packed away right now, but I can remember quite a bit 
about it.

b) There's no key signature in the first movement of the Jupiter Symphony.

c) There *is* a key signature in the second-last movement of Wozzeck -- 
which is in D minor, albeit a very extended D minor.  

d) Even if there weren't, the lack of a key signature would in no way
justify the term "12-tone," just as the lack of a tonal center or the
lack of triads (and there are lots of triads in Wozzeck) would not 
justify use of that term.

>Now, "not exactly melodic in the old fashioned sense" would appear to be 
>open to question. How about the converse: "it is exactly melodic in the old 
>fashioned sense". Well, I wouldn't say that. 

Not that such criticism wasn't also leveled at both Wagner and Verdi....
in fact, it is melodious in a Wagnerian or post-Wagnerian sense in many
places.

>People don't wander down the 
>corrider whistling melodies from Wozzeck. Okay, most of them don't. Yes, it 

How about the melody of Marie's lullaby?  

>is melodious, very melodious, beautifully so. And yes, Berg is much easier 
>to listen to than Schoenberg, who often seemed more interested in theory 
>than in music. 

Another odd thing to say -- unless you're talking about his theory books, 
of course.  Which pieces do you have in mind?

>But we're not talking Magic Flute here. This is atonal. The 
>only point I was making is that Wozzeck is MODERN, and it sounds modern 
>today. Some people would find it inaccessible.

Fine, but "modern" and "12-tone" are hardly synonymous.  And Berg's 
Wozzeck has a special relationship to both modernity and musical tradition.

Roger
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Good music for brass quintet
Date: 19 Dec 92 15:27:15 GMT
 <1992Dec13.041811.1547@netcom.com> <1gegaeINNltv@MINERVA.CIS.YALE.EDU> <85547@ut-emx.uucp>
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <85547@ut-emx.uucp> jbodnar@ccwf.cc.utexas.edu (John Bodnar) writes:
>Well, these aren't entirely for Brass Quintet, but they're worth a listen.
>[...list of works...]

I see another opportunity here to shamelessly plug my little
Fanfare for Brass Quintet.  Oops...looks like people are looking
for CDs here.  No matter, I'll shamelessly plug away anyway...
  Brass quintets looking for an effective curtain-raiser may want
to consider my "Fanfare" (a 1'40" work for which score and parts
can be obtained for a paltry $5 from DSC Publishing, 2131 Pleasant Hill
Road, Suite 151-121, Duluth, GA 30136) which was premiered by the
Atlanta Symphony Brass Quintet.  The trumpet parts were originally for
C trumpets but are provided both for C and Bb instruments (in case
some of you don't have C trumpets).  Nice work, fun to play.

Cheers,

--Mark

=====
Mark Gresham
dscatl!mgresham@gatech.edu
=====
Newsgroups: rec.music.classical
From: mrapple@quack.sac.ca.us (Nick Sayer)
Subject: Re: Favourite Organ Work Survey
Organization: The Duck Pond public unix: +1 408 249 9630, log in as 'guest'.
Date: 3 Jan 1993 23:30:42 UTC

It probably doesn't count, but I'd like to throw in
Fuare's Requiem. No, it's not solo organ, but its
use of organ is very effective.

ObOrgan: Tochata & Fugue in D minor, JSB. The
famous one. Overused, but undeniably excellent.

-- 
Nick Sayer <mrapple@quack.sac.ca.us> | 
N6QQQ @ N0ARY.#NOCAL.CA.USA.NOAM     | "Leave everything to me!"
+1 408 249 9630, log in as 'guest'   | 
PGP 2.1 public key on request        |     -- Powdered Toast Man
From: UCSBILLB@ubvm.cc.buffalo.edu (William H Baumer)
Newsgroups: rec.music.classical
Subject: Re: Rachmaninoff's "VESPERS"
Date: 21 Dec 92 16:16:23 GMT
Organization: University at Buffalo

In article <18750@mindlink.bc.ca>
Nation@mindlink.bc.ca (Brian Nation) writes:
 
>
>Several years ago I heard a recording of Vespers that was absolutely
>astounding. I don't recall the performers, but I believe it was a Russian
>chorus. I've been looking for a CD and recently have noticed several versions
>available. Any recommendations?
 
There is an excellent recording of R's VESPERS by Robert Shaw and the
Robert Shaw Festival Singers (not the large Atlanta Symphony Chorus)
on Telarc, CD-80172, recorded in 1990 in Quercy, France.  This is, I
think, one of Shaw's best, ranking with the old RS Chorale's CHRISTMAS
HYMNS AND CAROLS.
 
William H. Baumer
University at Buffalo
From: chrisr@hpcvra.cv.hp.com (Chris Robson)
Date: Thu, 24 Dec 1992 18:02:36 GMT
Subject: Re: Recorded using B&W speakers
Organization: Hewlett-Packard Co., Corvallis, OR, USA
Newsgroups: rec.music.classical

|
|Somewhere I read that recording companies in the 60s took the exactly
|opposite approach when mixing-down pop tracks: the last stage in the chain
|was the sort of speaker you'd find in a cheap trannie on the beach.  Since
|that was where their product was aimed, that was what they balanced it for.
|-- 
|--  Jack Campin
|----------

	Yep - but not just in the 60s - right up until today you will see
limited bandwidth speakers used to check that a mix will 'work' on a cheap
system (or an average TV). The common speakers to use were 'Auritone Cubes'
6"x6"x6" little beasties.

		Chris. xxx.



________________________________________________________________________________
    "It's a sobering thought that by the time Mozart was my age he had been
                    dead for two years" - Tom Lehrer.
________________________________________________________________________________
Chris Robson, MS 5UR5			Phone:	(503) 750-2766
HP Corvallis Division			Fax:	(503) 752-7811
1000 NE Circle Bvd.
Corvallis, OR 97330			E-Mail:	chrisr@hpcvra.cv.hp.com
USA
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Beginning a classical collection
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 1 Jan 1993 01:59:08 GMT

ceb@dbrus.Unify.Com (Caroline E. Bryan) writes:
: In article <1992Dec30.224749.5591@fid.morgan.com> apter@fid.morgan.com (Steve Apter) writes:
: >In article <1992Dec30.221729.3597@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
: >>In article <1992Dec30.205134.23099@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
: >>>You're in luck!  There's a book called "Who's Afraid of Classical Music,"
: >>>by Michael Walsh....
: >> ... The book trivializes classical music, and it's laden with errors,
: >> besides.
: >
: > ... David Hurwitz' "Beethoven or Bust"?
: 
: Any input on Joan Kennedy's book on how to enjoy classical music?  (Yes,
: Ted's ex-wife)

Well I took a quick scan through this one. I think 'trivialises' would
be over complimentary.

As an example - I quote more or less exactly - Robert Schumann.

I particularly love Schumann's piano music and his cello concerto (one
of his weakest conpositions IMO) which my good friend Yo Yo Ma
introduced me too. Schumann had a very romantic life, he went mad and
died in an asylum.

Well, that sure as hell is romantic, isn't it? And I'm so glad she's
good friends with Yo Yo Ma......

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: coren@speed.osf.org (Robert Coren)
Subject: Re: M"ullerin and lieder tenors
Organization: Open Software Foundation
Date: Mon, 28 Dec 1992 15:08:41 GMT

In article <1992Dec28.023633.26557@walter.bellcore.com>,
hsong@ardour.bellcore.com (G. Hugh Song) asks about recordings of
tenors singing _Die Schoene Muellerin_.

I'm not familiar with a large number of such recordings (I have an LP
with Wunderlich, which I haven't listened to in some time -- I
remember being vaguely disappointed by it). A few years ago I heard a
radio broadcast of a recording by a tenor named Martyn Hill, which I
thought was really beautiful. You might check it out.

O wise ones of the net: what's with Martyn Hill? Is he still around?
If so, what's he up to?
From: spacefox@acs.bu.edu (Godfrey Degamo)
Newsgroups: rec.music.classical
Subject: Madrigals for the second time...
Date: 22 Dec 92 10:49:32 GMT
Organization: Boston University, Boston, MA, USA
Originator: spacefox@acs.bu.edu



Sorry for that empty post, next time I won't use 'tin' to post.

Anyways, I'm wondering if there is a CD version of Courtly Pleasures
by the King's Singers?

                                 -G. Degamo,
                                   spacefox@acs.bu.edu
Newsgroups: rec.music.classical,news.answers
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Requia
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Wed, 23 Dec 1992 06:05:11 GMT

In article <1992Dec22.202748.2416@timessqr.gc.cuny.edu> kos@cunyvms1.gc.cuny.edu writes:
>>	One sheriff, two sheriffim.
>
>Latin?  That's Hebrew!

Indeed it is.  I never claimed to stick to one language...


--
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: atems@igor.physics.wayne.edu (Dale Atems)
Subject: Re: Berg
Organization: Wayne State University, Detroit, MI
Date: Tue, 22 Dec 1992 23:51:39 GMT

In article <1992Dec22.215902.11026@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>In article <1992Dec22.190135.17394@Princeton.EDU>, mikulska@comet.Princeton.EDU (Margaret Mikulska) writes:
>|> In article <1992Dec22.173348.9371@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>|> >Of course, the music is not exactly melodic in the old fashioned sense,
>|> >with Berg following the 12 tone model. 
>|> 
>|> Not in WOZZECK.  There is no "12 tone model" in this opera - it's a
>|> freely atonal work.  (LULU is dodecaphonic, though.)
>|> 
>I didn't really mean "12 tone" in the sense of the term that you evidently
>thought I meant. To me, "12 tone" means "no key", ergo "atonal". I thought
>there was some special term, something other than "12 tone" or "dodecaphonic"
>to describe the technique whereby no pitch may be repeated until all 12 have
>been used. Perhaps I am imagining this.
>
>You're entirely correct that the "no pitch repeat" rule does not apply to 
>Wozzeck; pitches are repeated frequently, to great effect, throughout the
>opera.

A slight intrusion of reality here: Berg's Lyric Suite, if I remember
right, alternates between 12-tone and freely atonal writing between
movements (I *think* inside some of them too). If you can tell the
difference by listening, you have a much better ear than I.

------
Dale Atems
Wayne State University, Detroit, MI
Department of Physics and Astronomy
atems@igor.physics.wayne.edu
From: bwalsh@math.rutgers.edu (Bertram Walsh)
Newsgroups: rec.music.classical
Subject: Re: Furtwaengler on Toscanini
Date: 30 Dec 92 16:30:37 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

Re just a couple of the more egregious things in Chris Ischay's post
on the Furtwaengler letter:

>I don't have any references here at work, but my recollection is that
>Furtwangler had reason to be jealous of or inimical toward Toscanini.
>And he was not the only conductor.  Competition was not unknown back
>then, and I think Toscanini horned out a few Big Names in his time.

Hey, you think competition ever was unknown?

>>Moreover, I became aware that the Mediterraneans don't have any
>>symphonies, never owned or wrote any.

>Racial slur.  Low blow, Wilhelm!

Racial slur my left foot.  Assessment of the direction of the local
musical culture, sure.  Ethnocentric, probably.  Deadpan humor can't
be excluded.  But try turning it around.  Suppose an Italian conductor
muttered under his breath that the Germans, RW included, never under-
stood opera.  Would we call that a racial slur, or just smile a bit
at the Europeans doing one of their standard numbers on each other?

>>Bizet Arlesienne Suite and the like are yet the best of the kind
>>(Berlioz belongs to the German history of music in so far as he is
>>symphonist in earnest).

>If it's good, it must be German, even if it's not.

Don't forget Berlioz's assertion that he had taken up music where
Beethoven left it.  He asked to be numbered with the Germans when he
said that.  And notice the qualifying clause.  You can say that a sym-
phony is just an Italian overture with elephantiasis, but it caught the
disease among the German-speakers.  The developers of the form have
some intrinsic interest in it.  Every American is a jazz maven in Europe.

>>The fame of Toscanini seems to be based partly on his memory, and
>>his uncompromising ruler personality, and partly on his roots in
>>fascist Italy.  Nothing derives from the artist in him, for he is,
>>at least as long as he conducts symphonies, boring and mediocre.
>>In Italian operas that may be different.  

>I find irony in the fact that Toscanini was equally celebrated for his
>conducting of Wagner, who I think was German.

I find irony in the fact that Furtwaengler, who has had to take so
much post-mortem flak for remaining at the deathbed of morality in
Central Europe, is here revealed as a closet non-authoritarian of the
Bruno Walter type.  Again, note that F. restricts his comments to T.
as a conductor of symphonies.

Bertram Walsh                   | "I enjoy all singing, but par-
Dep't of Mathematics            | ticularly songs which are old."  
Rutgers University              |                      -- Apollo
New Brunswick NJ 08903/USA      |           (at Didyma, 3rd c AD)
Newsgroups: rec.music.classical