HDTenEightyP/NetNews huggingface dataset:
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: Good Perf Major Schools?????
In-reply-to: phoogenboom@eagle.wesleyan.edu's message of 12 Apr 92 15:28:32 EDT
Organization: pubs
	<CB.92Apr7104710@tamarack12.timbuk>
	<1992Apr12.152832.1@eagle.wesleyan.edu>
Date: 13 Apr 92 12:40:45 CDT

Jennifer Barron wrote:

   ... I wondered what some good, challenging, perf. major degree programs 
   there are at some of the schools in the US... 

I wrote:
  
   The choice is obvious: Indiana.
   
Peter Hoogenboom writes:

   While Indiana is certainly an excellent school, I would have to say that 
   it is not without its limitations.  Anyone has to weigh the limitations 
   and strengths of the various programs ...

I'm sure not everyone finds happiness there, but, as far as I know, it's
the only school at that level of quality that has anything like IU's sheer
SIZE.  Among other benefits of this size, I doubt that any other school
could put on an opera the way they do (in a *hall* like that, too).  And if
you're hanging around there some evening you can pop in at people's master
recitals and hear excellent performances of all sorts of interesting music.
This would be true at other schools, but again, IU's size gives you so many
choices even for the pop-in-on-recital activity.  I don't know what other
pianists besides John Ogdon and James Tocco my sister might have chosen,
but just those two are impressive indicators of IU's quality.  For cello
they had Starker; etc.  I didn't mean IU is "the best" school, because
Juilliard probably has a lock on that title; but for a broad range of
ambitions, IU would be a great place to be.  Really I'm just jealous of my
sister. :-)

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7
Newsgroups: rec.music.classical
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Re: The Glory (????) of the Human Voice
Organization: Massachusetts Institute of Technology
Date: Thu, 16 Apr 1992 19:41:25 GMT

Relatedly, does anyone know if "Jonathan and Darlene Edwards" have been
transferred to CD? FOr those not in the know, this was actually the wonderful 50s
vocalist Jo Stafford and her husband on piano (whose real name escapes me!). They
did what I would call a spoof on Jenkins (and other "real" singers whose egos got in the
way of the music). For the most part, not as excruciating as Jenkins, and a lot
funnier since you know they were not taking themselves seriously (as FLorence
was). 
Newsgroups: rec.music.classical,alt.guitar
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: Guitar arrangement of de Falla's "El Amor Brujo"
Organization: Computer Science Department University of Rochester
Date: Thu, 9 Apr 1992 13:10:41 GMT

In the catalog of the place I usually order classical guitar music from,
there's an arrangement of "El Amor Brujo" for solo guitar (done
by Kitabayashi).  I was wondering if anyone else had ever tried playing
it, or knows where I can find a recording.
  Given that it's a reduction from a fairly large group of instruments,
I'd like to know

  a) If it sounds decent.
  b) If it's absurdly difficult.  (I'm a pretty advanced player, or
I wouldn't even consider ordering it, but there's still quite
a bit that's out of my range).

  Thanks,
Gavin Steyn
steyn@cs.rochester.edu
"There are times, Jeeves, when one wonders, 'Do pants really matter?'"
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Bach's Solo Violin Music
Organization: Camex Inc., Boston MA
Date: Wed, 08 Apr 1992 12:42:29 EDT

In article <1992Mar24.234632.15406@sequent.com> danielh@sequent.com (Daniel
Hobbs) writes:

>I also have the Perlman (Angel/EMI), which is the best of those I've
>heard, and the Heifetz and Menuhin (off of 78's).  Menuhin's
>interpretations are, IMHO, rightly hailed.  At first I did not like
>Heifetz's "hundred-yard dash" tempi (he tosses the Chaconne off in
>a bit over 12 minutes), but on those fugues without double or triple
>stopping, in which the voices are sounded consecutively, I found his
>fast tempi really bring out the voices.

Heifetz played this music as no one else did, or probably could.  He is the
only virtuoso I have ever heard play the double-stop double trills as
written.  His technical mastery is unparalleled.  His interpretation,
however, is another matter.  I wouldn't want it to be my only understanding
of these works, but it's a significant one.  I don't think, however, that
tempo fast or slow can bring out the voices; something else is required.

>I just got a catalog from Ballyk and somebody (can't remember) listing
>about a dozen recordings of the complete sonatas/partitas.  Has anyone
>listened to the Milstein on DG, and have any comments?

I have the Milstein (and the Perlman and the Heifetz and the Menuhin and a
few others).  Milstein is a master of his art, a true virtuoso in the mold
of folks like Menuhin and Heifetz.  His interpretations are characteristic
of that grand violinistic tradition of the first half of this century.
They are faithful to the music, they enlighten and make sense of the music,
and his tone is beautiful.

I find this not to be true of Perlman.  I think he tends to be a bit less
of a risk-taker, and while his playing is at every point competent, it
lacks that edge of excitement that this music deserves.  I would say the
same and more of his playing of Paganini's Caprices.  The two aren't
necessarily of equal musical weight, but technically they're both devilish.

I find Szeryng very satisfying, but overall I would recommend Grumiaux's
playing as the top of the line.  His tone is beautiful, his tempos are
always well chosen, and he has a way of revealing the music of the inner
voices that pleases me more than other recordings.

All that said, I still rank Szigeti as the best interpreter of this music.
His interpretations are so idiosyncratic that I don't routinely recommend
him as a first choice, and he recorded them so late in life that his age
shows in the bow.  But what a music maker!  Absolutely no one else plays
them as intelligently or as passionately.

I stopped collecting these things before the period instrument thing
started up, so I can't comment on folks like Jaap Schroeder, although I'd
love to hear others' opinions.

Chris Ischay
chrisi@bos.camex.com
From: elmenb@urc.tue.nl
Newsgroups: rec.music.classical
Subject: Re: Help, which instrument?
Date: 15 Apr 92 14:51:40 GMT
Organization: Eindhoven University of Technology, The Netherlands

In article <1992Apr15.030528.22310@cunixf.cc.columbia.edu>, hyx1@cunixa.cc.columbia.edu (Harry Y Xu) writes:
=> Hi,
=> 	I plan to put up an effort to learn an instrument over the Summer.
=> I just want to entain my ear (amongst other body parts); just want to learn
=> an easy-to-pick-up instrument.
=> 	Can somebody give me advise on which instrument is the easiest to 
=> learn?  I know the Q might sound stupid, but can't think of better wording.
=> 
=> PS.	I sort of like woodwind and brass, but not sure.
=> 	I have no musical potential/intellence.
=> 	I'm a poor college student without much $ to spend on it.
=> 

I suggest you try the flute. It's easy to learn to play simple tunes on a
flute. However, if you like it and intend to get on, after three or four years
I don't think there's any difference in what instrument you try. Every
instrument has its own difficulties you have to master to be good at it.

Nicole
elmenb@urc.tue.nl
Newsgroups: rec.music.classical
From: velde@gopher.standord.edu (Francois Velde)
Subject: Re: government and the arts
Organization: DSG, Stanford University
Distribution: na
Date: Thu, 16 Apr 92 20:17:38 GMT

In article <1992Apr16.162101.14329@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>In article <1992Apr16.124723.3133@unx.sas.com> sasghm@theseus.unx.sas.com (Gary Merrill) writes:
>>|> The Chicago Symphony wouldn't be able to go to the toilet between their
>>|> Mozart performances if they didn't get subsidized.  Grant, I am sure
>>
>>The content of your position is simply this:  If we didn't subsidize
>>symphonies, then there wouldn't be subsidized symphonies.  True, but
>>not particularly enlightening.
>
>Most people tend to think the Chicago Symphony is a good thing.
>
But is a *subsidized* Chicago Symphomy better than an unsubsidized one? That's
the point.
In Europe, Opera Houses are subsidized to the hilt with taxpayer money. For
whose benefit? Officially, to make culture available to all, a worthy 
democratic aim. In practice, seats at the opera are owned by dynasties of 
subscribers who hand them down from generation to generation. In effect, 
"culture", that is, culture that will receive taxpayers' money, is defined
by the very same elite that will enjoy that culture. 
In that respect, letting the marketplace decide is like putting the question
to a referendum. Those who scream that the marketplace is the death of art 
simply express their belief that the majority of the people are not interested
in art--which I think is both elitist and wrong.
>>... where it appears "more enlightened" means simply that they subsidize
>>the arts.
>
>you bet.
>
>>(Once again, need I point out that such a response comes from someone whose
>>machine name ends in ".edu"?)
>
>so what
>
>
>jeff
From: rh1@base.bellcore.com (Richard Yu)
Newsgroups: rec.music.classical
Subject: Regine Crespin Discography wanted
Date: 17 Apr 92 20:08:25 GMT
Article-I.D.: porthos.1992Apr17.200825.25730
Organization: Bellcore, Livingston, NJ

If anyone happen to have the discography of Regine Crespine
please let me know. Thank you for your help in advance.

-------------------------------------------------------------------------------
Richard T. Yu / Bellcore PYA 1E122, 6 Corporate Place, Piscataway, NJ 08854  
TEL:(908) 699-3015   FAX:(908)336-2250  EMAIL:base!rh1, rh1@base.bellcore.com
-------------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: smoliar@hilbert.iss.nus.sg (stephen smoliar)
Subject: Re: government and the arts
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Distribution: na
Date: Fri, 17 Apr 1992 00:52:12 GMT

In article <1992Apr15.124058.264@Princeton.EDU> roger@phoenix.Princeton.EDU
(Roger Lustig) writes:
>In article <15APR199207432656@amarna.gsfc.nasa.gov>
> packer@amarna.gsfc.nasa.gov (Charles Packer) writes:
>
>>The solution in both art and science is to have the work
>>in question done with private funding.
>
>Including all arts education?  
>
>How about all *science* education?  
>
Actually, Roger, we may be closer than you think.  Consider some of the major
corporations which now assume much of the responsibility for training their
employees, often under the assumption that those employees have been
inadequately prepared by the education they received.  Could it be that
if those corporations made more of a commitment to education, they would
have to make less of an investment in in-house training?  (The trouble with
this argument is that I am not sure it justifies corporations supporting ARTS
education.)
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Xref: sparky rec.music.classical:5936 comp.music:2447
From: chengb@barnacle.erc.clarkson.edu.UUCP (Bruce Cheng)
Newsgroups: rec.music.classical,comp.music
Subject: Re: Help, which instrument?
Date: 16 Apr 92 01:30:02 GMT
Organization: Clarkson University

From article <hjv.703345376@groucho.phil.ruu.nl>, by hjv@phil.ruu.nl (Hendrik Jan Veenstra):
> roger@phoenix.Princeton.EDU (Roger Lustig) writes:
> 
>>In article <1992Apr15.030528.22310@cunixf.cc.columbia.edu>
>> hyx1@cunixa.cc.columbia.edu (Harry Y Xu) writes:
>>>Hi,
>>>	I plan to put up an effort to learn an instrument over the Summer.
>>>I just want to entain my ear (amongst other body parts); just want to learn
>>>an easy-to-pick-up instrument.
> 
>>Easy-to-pick-up WHAT?  8-)  Yes, it's a great way to meet people, too...
> 
>>>	Can somebody give me advise on which instrument is the easiest to 
>>>learn?  I know the Q might sound stupid, but can't think of better wording.
> 
>>>PS.	I sort of like woodwind and brass, but not sure.
> 
>>Recorder, then.  Cheap, most of the music isn't too hairy, and you can
>>carry it around with you.
> 
>>>	I have no musical potential/intellence.
> 
>>DEFINITELY recorder.  8-)
> 
> No, far too difficult. I would vote for mouth-harp... :)
> 

Com'on guys, this man was only asking a question nicely.....I'm sure
not everyone is born with great musical talents.....

How about a Keyboard for beginners?  that will be a good way to learn
piano the cheaper way.

- Bruce Cheng

--
--
Bruce Cheng
Internet:  chengb@redwood.cad.clarkson.edu
	   chengb@eagle.tc.clarkson.edu (cc here)
From: hunter@sdg.dra.com
Newsgroups: rec.music.classical
Subject: Re: FCC Deregulation? Re: Sorry State of Classical Radio
Date: 7 Apr 92 13:00:01 CDT
Organization: Data Research Associates, St. Louis MO

In article <CB.92Apr7113519@tamarack12.timbuk>, cb@tamarack12.timbuk (Chris Brewster) writes:
> Paul Homchick writes:
> 
> Chicago has *two* commercial classical stations. Though I wouldn't
> characterize either as wildly adventurous, both stations have avoided the
> Classical Lite format; they're both worth listening to.  Chicago isn't
> noted as a high-brow capital.  If two stations can survive on commercials
> there, why not in other places?
> 
> Chris Brewster
> cb@cray.com
> GEnie: C.BREWSTER7

To add my humble two cents worth: WFMT in Chicago is the finest radio station I
have ever heard (even better than the third programme when I lived in the UK).
"Adventurous" programming is of little interest to me, but WFMT does an
outstanding job of integrating together disparate pieces with some wonderful
threads, uniting chamber music and opera, current recordings and historical
ones, sometimes with just the right performance. I still remember some 30 or 60
minute segments of virtuosic programming on the drive to and from work. It is
hard for me to imagine that any NPR station could come close to the success of
WFMT, given NPR's heavy subsidies from the Feds and the left-leaning,
counter-cultural ethos permeating it.

Hunter Kevil
HUNTER@SDG.DRA.COM
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: Stockhausen at the Emperor's Court
Date: 6 Apr 92 05:27:30 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

Thanks very much to the lovely souls who reminded me of the version
for traditional instruments of the Stockhausen piece. I was actually
looking for *only* the gagaku version, as will become clear. As it
worked out, I elected to stay with only traditional instrumentation
for the "New Music for Traditional Japanese Instruments" program. As
a "thank you", a hope to see if I can get some "Have you heard...." 
pointers, and as an adjunct to the "Classical Radio" program, here's 
what was on the playlist:

RTQE 5/4/92 New Music for Traditional Japanese Instruments

traditional	Etenraku	Japon: Gagaku	Ocora
Toshi Ichiyanagi	Hoshi-No-Wa (for solo Sho)	Cosmos of T.I. II	Camerata
Yuji Takahashi	While I Was Crossing the Bridge	Eye to Eye	Art Front
Maki Ishii	Drifting Island	Eclogue	Camerata
Michiro Satoh	Untitled	Rodan	Hat Hut
Yoriaki Matsudaira	To the Victims of Cain	New Spirits of Sangen	JVC
Minoru Mikii	Concerto Requiem	Selected Works II	Camerata
Joji Yuasa	Maibatarakai II	Perspectives in New Music 27	PNM*
Cort Lippe	Music for Harp and Sho (1986)	??	CBS-Sony 32DG-60**
Akira Nishimura	Navel of the Sun	Orchestra Project '89	Camerata


*This is from the disc which now accompanies the issues of the periodical
"Perspectives in New Music" They're available separately, and a good 
source of work - some of which just ain't anywhere else. What a good 
ideas the CDs have been. John Rahn is the guy to contact in case you're
interested in procuring some. He's at pnm@milton.u.washington.edu 

** I've got a DAT dub from Cort himself, so I don't know the title of
the Japanese CD on which this appears. I've included the catalog number
instead of merely mentioning the label.
--
I am so lonely for the twentieth century,/for the deeply felt, obscene
graffiti/of armed men and the beautiful bridges/that make them so small and
carry them/into the hearts of cities written like words/across nothing,/the
dense void history became in my beautiful century/gtaylor/608-828-3385
Newsgroups: rec.music.classical
From: shapiro@unmvax.cs.unm.edu (Henry Shapiro)
Subject: Bartok String Quartets -- HELP
Organization: University of New Mexico
Date: Wed, 15 Apr 92 04:02:17 GMT

NOTE: WE'VE BEEN HAVING PROBLEMS.  THIS POSTING FROM unmvax.cs.unm.edu

NOBODY responded to my last posting.  Maybe it didn't make it onto the
net somehow -- I'm getting suspicious that something is wrong here.
So somebody please reply, even if to say "I ain't got the foggiest".
And surely some of the regulars must have an opinion.  The question was:

  It is time to add the Bartok String Quartets to my collection.  Any
  recommendations for recordings?

There was a lot of mail about Mahler symphonies.  Surely someone has
opinions on these most important quartets on the 20th century.
Newsgroups: rec.music.classical
Subject: Bartok String Quartets -- HELP
Summary: 
Expires: 
Followup-To: 
Distribution: 
Organization: Computer Science Department, University of New Mexico
Keywords: 


NOBODY responded to my last posting.  Maybe it didn't make it onto the
net somehow -- I'm getting suspicious that something is wrong here.
So somebody please reply, even if to say "I ain't got the foggiest".
And surely some of the regulars must have an opinion.  The question was:

  It is time to add the Bartok String Quartets to my collection.  Any
  recommendations for recordings?

There was a lot of mail about Mahler symphonies.  Surely someone has
opinions on these most important quartets on the 20th century.
Newsgroups: rec.music.classical
From: aldrich@leland.Stanford.EDU (James Dunbar Aldrich-Moodie)
Subject: Re: Brahms performances
Organization: DSG, Stanford University, CA 94305, USA
Date: Thu, 16 Apr 92 17:07:01 GMT

In article <3940031@hpcc01.corp.hp.com> alansp@hpcc01.corp.hp.com (Alan 
Spence) writes:
>
>     For the Brahms 3rd Symphony, I am partial to George Szell's
>     recording with the Cleveland Orchestra.  They play with greater
>     precision than the Columbia Symphony, and I think that Szell makes
>     this pay off with more power in the climaxes, especially in the
>     4th movement.  And surprisingly, Szell finds a lyrical magic in
>     the closing pages that (if memory serves me) eludes Walter.
>

I just bought a new set of the Brahms symphonies, having suffered for too
long with an old Solti set which was given me.  I picked up numbers 1,2,&3
with Claudio Abbado and the BPO.  These are truly fantastic performances!!
All the richness and beauty essential in Brahms, with a clarity and coherence
too often missing in performances of these symphonies.  Plus the couplings
are really good, not just the standard Haydn variations, Tragic, or Ac. Fest.
overtures.  Abbado includes the Alto rhapsody, Song of the Fates, etc. plus
the Tragic overture.  I'm sure his recording of #4 will have the Ac. Fest.
and Haydn stuff.

Meanwhile I have to make do [:-)] with Kleiber's truly amazing account of #4.
But I've got to say that I'll snap up Abbado's version as soon as it's out.
These are performances not to be missed.

James 
_____________
James Aldrich-Moodie
aldrich@leland.stanford.edu
Newsgroups: rec.music.classical
Subject: Re: Cor ANGLIAS or ANGL'EREFRESH
From: phoogenboom@eagle.wesleyan.edu
Date: 13 Apr 92 17:56:00 EDT
 <1992Apr12.154718.1@eagle.wesleyan.edu> <1992Apr13.152847.157211@cs.cmu.edu>
Organization: Wesleyan University

In article <1992Apr13.152847.157211@cs.cmu.edu>, hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
> In article <1992Apr12.154718.1@eagle.wesleyan.edu> phoogenboom@eagle.wesleyan.edu writes:
>>In article <1992Apr08.181239.14971@cs.cmu.edu>, hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
>>> In article <VANCE.92Apr7104122@kyoto.speech.sri.com> vance@speech.sri.com (Vance Maverick) writes:
>>>>
>>>>In article <CB.92Apr7110212@tamarack12.timbuk> cb@tamarack12.timbuk (Chris Brewster) writes:
>>>>
>>>>   I have a question, which may have been already answered by implication, but
>>>>   I need it spelled out: how are oboe, English horn, and bassoon related?  Is
>>>>
>>>>The English horn is essentially a scaled-up oboe, but the bassoon is
>>>>quite different in construction, fingering and even reed style.  The
>>>>only ways I recall EH differing from OB are the angle in the reed
>>>>tube and a sort of swelling at the bell.
>>>>
>>>>	Vance
>>> 
>>> Let's not forget that the EH is pitched a fifth lower than the oboe but is
>>> lacking a fingered low Bb[the oboe's lowest note] and so only goes down to a
>>> fingered B[that is to say the E below middle C].  
>>> And the angle is the bocal that the reed is placed on, not the reed itself.
>>
>>only bassoon family instruments have a bocal.  Oboes and their relatives call it
>>a "staple"
>>-- Peter Hoogenboom
> 
> Sorry Peter, but you are wrong.  The English horn has a bocal, as does the
> oboe d'amore and the bass oboe.  The staple [as I already explained] is the
> metal tube that the cane is tied onto to make a reed.  The staple is then
> placed on the bocal of these instruments in order to play.  The oboe's staple
> has cork around the bottom and fits into the top of the oboe without a 
> bocal.  Clear???
> Harold
> hsmoliar@db1.speech.cs.cmu.edu

Ok -- I'll buy all of that.  I got my info from a baroque oboist though and
her baroque d'amore has no bocal.  Do modern ones then?  the are not that much
bigger than "regualr" oboes.  I havent seen an english horn or any larger
member of the oboe family up close recently enough.  And of course the baroque
staple has no cork but rather is wrapped with yarn.

Peter Hoogenboom
Newsgroups: rec.music.classical