HDTenEightyP/NetNews huggingface dataset:
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: It's in the wrists.
Date: Tue, 10 Nov 92 22:21:37 PST
Organization: The Portal System (TM)

  In article <1992Nov10.134408.25547@bas-a.bcc.ac.uk> Martin S. T.
Watts mentions the story that Schumann had cut into the webbing
between his fingers to increase his stretch.  This appears to be
apocryphal, as explained in Peter Ostwald's book "Schumann: The Inner
Voices of a Musical Genius":

  The myth that Schumann's hand was severely injured gained credence  
  in the 1940s when Robert Haven Schauffler's biography cited
  a totally unsubstantiated remark by Alfred Meyer, M.D., to 
  the effect that the composer cut into the webs between his
  fingers to give them more independence.  This is unlikely,
  since such an operation, unless performed by a skilled surgeon,
  can lead to serious infection and permanent damage to the tendons.
  
It does appear that Schumann's right hand was injured, which imnpaired
his proficiency at the piano, but from all I have read it does not seem
to be clearly established what happened to his hand.  He used a mechanical
device of some kind when practicing during one period and this has been
cited as the cause of the injury (a device that was supposed to promote
stretch and finger independence, I think, and this may have given rise to
the legend about cutting into the webs), and it has also been suggested that
he suffered from tendon or nerve damage, akin to the carpal tunnel problems
that some musicians have had in recent times (e.g. Leon Fleisher, Gary
Graffman).  (The Ostwald book is fascinating, by the way;  Schumann was,
as we would say nowdays, fairly screwed up mentally from an early age.)

    Bill Pearce
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: CPE Bach, Wq. 182
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 13 Nov 92 16:33:50 GMT

I'm looking for suggestions on recordings of the
six symphonies by CPE Bach, Wq 182.  If anyone
could recommend recordings of these pieces, I'd
appreciate it.  

Also, any comment or comparison between these and
his later symphonies would also be appreciated.  I've heard
at least two of the Wq 182 pieces and enjoyed them
immensely.  My question is whether the inspiration
(admittedly a difficult and subjective measure) grew
as he experimented with the symphony or if the
ideas in Wq 182 include his main innovations.

John D.
From: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
Newsgroups: rec.music.classical
Subject: Re: Chopin's hands (was: It's in the wrists.)
Date: 13 Nov 92 03:24:03 GMT
	<1992Nov12.215011.21537@csi.uottawa.ca>
Organization: /pearl/homes/eijkhout/.organization
NNTP-Posting-Host: cupid.cs.utk.edu
In-reply-to: kiisaka@csi.uottawa.ca's message of Thu, 12 Nov 92 21:50:11 GMT
In-reply-to: kiisaka@csi.uottawa.ca's message of Thu, 12 Nov 92 21:50:11 GMT
In-reply-to: kiisaka@csi.uottawa.ca's message of Thu, 12 Nov 92 21:50:11 GMT

In article <1992Nov12.215011.21537@csi.uottawa.ca> kiisaka@csi.uottawa.ca (Ken Iisaka (the mad pianist)) writes:

   Pieces by Skryabin have lots of impossible chords.  However, it is not expected
   that you play all of the notes together, anyway.

No? If you can play them they sound much better together.

   Ravel's Concerto pour la main gauge has a coupld of G#-D-F#-C#'s.

I can hit the G#-C#, but I'm not sure if the intermediate ones
will work. (11ths are such fun; I have my own arrangement of Saint-Saens'
Swan, which features a few runs such as D-D, C-D, B-D, A-D, and then
unfortunately I cannot hit G-D anymore :-(

   Ken Iisaka

Victor
Newsgroups: rec.music.classical
From: lksmith@truth.mitre.org (Smith)
Subject: Re: Obscene lyrics
Keywords: obscene, lyrics, orff
Organization: The MITRE Corp., Bedford, Ma.
Date: Tue, 10 Nov 1992 16:14:47 GMT

In article <swartz.721366759@sfu.ca> swartz@fraser.sfu.ca (Norman Swartz) writes:
>Jason Franks writes:
>
>> Does anyone know of any other "classical" album which took such
>> an action ...
>[i.e. of warning listeners that lyrics may be objectionable]?
>
>I have a recording of Orff's _Catulli Carmina_ by Heinrich
>Hollreiser, Vox PL 8640 (circa 1954) which suppresses the
>translation of some of the lyrics.  The English translation,
>alongside the Latin, has gaping holes with an italicized
>explanation: "For obvious reasons the translation of the
>following lines has been omitted."
>-- Norman Swartz, Simon Fraser University, Burnaby, BC, CANADA
>
>

In a similar vein, back in music school some :-)  years ago,
our first-year music history intro course did a section on Richard
Strauss.  Our instructor was willing to summarize the plot of
_Salome_, but the English translation of the libretto was
completely censored.  Those of us who could read German were
at a distinct advantage. :-)

Linda Smith
lksmith@truth.mitre.org

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: The Best Thaikovsky's 6th
Organization: Camosun College, Victoria B.C, Canada
Date: Thu, 12 Nov 1992 01:29:09 GMT

In article <1992Nov10.170408.17319@husc3.harvard.edu> vnguyen@husc8.harvard.edu writes:
>In article <bTB=1S@engin.umich.edu>,
> newjack@engin.umich.edu (Kyong Soo Lee) writes:
>> Hello fellow netters!
>  I'm sure this question has been raised in the past.  Anyway,
>> which is the best recording of the
>  Thaikovsky's 6th symphony out there now in your opinion?
>> 
>> Hope to get a long productive thread on this subject!
[....]
>If sound isn't the primary consideration then the competition
>tightens with at least 2 more major contenders:
>
>1. Mravinsky/Leningrad PO (DG 419 754-2 in a 2-CD set of 
>Symphonies 4-6)
[....]
>The Mravinsky set of the early 60s is in a class of its own.
>Here is Tchaikowsky at his most red-blooded and raw in sheer
>energy.  It is an urgent reading whose influence can be clearly
>seen in the latterday Jansons reading.  How Mravinsky could
>unleash such manic intensity and drive (quite the opposite
>of the overdrawn intensity of Bersntein -- which is its most
>remarkable antithesis) without getting out of control is
>a marvel that has to be heard to be persuaded and believed.
>There are so many delectable insights in this reading that
>defy description -- the orchestral parts emerge crisply
>and weave in magical ways under Mravinsky's relentless baton.
>The sound is dry to say the least, and has plenty of hisses
>to boast, but it is strikingly immediate and vivid and one
>quickly gets use to it (and I could even prefer it to the
>rather clinical digital sound we tend to get these days).  
>It is not perhaps the best sound even by analogue standard,
>but there is something about the orchestral placing that 
>makes this Pathetic sound so strikingly bold and "right",
>if not "revelatory" in the best sense of the word.  

You should hear his 1982 live reading on Erato, which, IMO, outclasses
even his 1961 version for power and intensity.

I have not heard the Bernstein but obviously should. I found the
Jansons a disappointment, particulkarly after his splendid 4 & 5. I'm
afraid I cannot agree about the Pletnev. It garnered rave reviews -
everywhere except the ARG which panned it - but I remain almost
totally unmoved.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: My Own Private Desert Isle
Organization: Camosun College, Victoria B.C, Canada
Date: Thu, 5 Nov 1992 20:31:25 GMT

In article <4NOV199211240242@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel) writes:
>In article <1992Nov3.210342.8822@spang.Camosun.BC.CA>, dbarker@spang.Camosun.BC.CA (Deryk Barker) writes...
>
>>OK people, let's get the rules straight. As laid down by the blessed
>>Roy Plomley in 1943: you may take to your desert island eight (8)
>>records, one (1) book - the bible and the works of Shakespeare already
>>being there, and one (1) luxury. N.B. luxuries may have no practical
>>use - for instance when a castaway asked for a piano RP would always
>>insist on an upright - you could shelter under a grand.
>> 
>>Please let's stick to the rules.
>> 
>
>Sorry, Deryk, but this is not 1943, and deserted island dwelling has
>made significant advances since Plomley's day, ol' boy.  And what
>were his credentials for as desert island survivalist?  Robinson Crusoe,
>on the other hand, was extremely experienced in this sort of thing
>and laid down several pages of rules.  These rules have been updated
>in annual year books, and have kept pace with the times.  
>
>I don't see any reason whatever to defer to Plomley.  This is the 
>nineteen what? 90s?  I say 10 items of music.

True this is *not* 1943, but, as far as I'm aware, Plomley invented
the concept. The radio programme he devised, which he expected to run
for about 6 weeks, ran until his death in 1983, and has since been
resurrected, so that it is *still* running every week on the BBC,
*still* using the same rules. Ask anyone in Britain - they;ll tell you
a desert island only has 8 records.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Twinkle, Baa baa, abcdefg, Ah vous dirai-je...
Date: 5 Nov 92 19:29:25 GMT
Organization: Oxford University VAX 6620

In article <1992Oct30.183035.5709@newshost.lanl.gov>, jhf@c3serve.c3.lanl.gov (Joe Fasel) writes:
> 
> I've found that "Baa baa" tends to be sung as shown above in America,
[deleted]

> and thus in Britain:
> 
>     c c g g abcag   f f e e d d c   g ggf ffe eed  dg ggffffe eed
>                                                         ^^^^
                                                          fgaf  actually!
-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
From: yangyj@SPUNKY.CS.NYU.EDU (Yao-Jung Yang)
Subject: Several good Tchaikovsky recordings.
Organization: New York University
Date: Wed, 11 Nov 1992 21:34:06 GMT

Newsgroups: rec.music.classical
From: 910394f@ace.acadiau.ca (JAMES LEON FALCONE)
Subject: Re: Cage's 4'33"
Organization: Acadia University
Distribution: usa
Date: Thu, 12 Nov 1992 14:10:18 GMT

In article <1992Nov11.205624.1093@sequent.com> danielh@sequent.com (Daniel Hobbs) writes:
>Path: dragon.acadiau.ca!nstn.ns.ca!newsflash.concordia.ca!utcsri!torn!cs.utexas.edu!zaphod.mps.ohio-state.edu!swrinde!gatech!emory!ogicse!sequent!muncher.sequent.com!danielh
>From: danielh@sequent.com (Daniel Hobbs)
>Newsgroups: rec.music.classical
>Subject: Cage's 4'33"
>Message-ID: <1992Nov11.205624.1093@sequent.com>
>Date: 11 Nov 92 20:56:24 GMT
>Article-I.D.: sequent.1992Nov11.205624.1093
>Sender: usenet@sequent.com (usenet )
>Distribution: usa
>Organization: Sequent Computer Systems Inc.
>Lines: 6
>Nntp-Posting-Host: crg8.sequent.com
>I've read so much on this newsgroup about Cage's infamous 4'33".
>Can anyone recommend any good recordings of it?  What, in the
>informed opinion of this net, is the _best_ recording?
>
>Dan Hobbs
>danielh@sequent.com
I'e always preferred the version for trumpet, 8 violas, piccolo, drum set
serpent, and fat lady. The only problem with this arrangement is that it 
never ends!
          J.
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Piano Show-Piece
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Mon, 9 Nov 1992 18:11:32 GMT

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

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

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

>The piece should be musically interesting, but not dull like a Czerny 
>study etc. In other words, a show-piece.

What's wrong with, say, K.576, then?  Or, one level of virtuosity higher,
Beethoven's Op.2, No.3?

Clementi, a contemporary of Mozart and Beethoven, has some good sonatas
that may do what you want. Likewise, look through some of the intermediate
Scarlatti sonatas, which can sound pretty exciting if you play them with
flair.  

(btw, the late Vladimir Horowitz was a bit of a Clementi specialist,
which suggests that there's something showy about some of the music
right there.)

The Scarlatti sonatas are for harpsichord, but allow you to show off
on any keyboard instrument.  For virtuosity of a mor intimate kind,
why not try some CPE Bach sonatas?  

Roger

Newsgroups: rec.music.classical
From: tony@cns.nyu.edu (Tony Movshon)
Subject: Re: Favorite Ring recordings
Reply-To: tony@cns.nyu.edu
Organization: New York University
Date: Thu, 12 Nov 1992 16:53:27 GMT

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

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

I heard Gotterdammerung at Bayreuth in '83 (I believe the only year Solti
actually did the Ring). The production (by Peter Hall) was not a success, 
the cast was relatively weak, and I understand that Solti found the Bayreuth
atmosphere quite unpleasant to work in (he's not the first performer to have
that experience). My recollection of his conducting is that although the
tempos were a little broader and the approach a little mellower than in the
Vienna recording, the basic style was very much the same. It was not a
"romantic version".

------------------------------------------------------------------------
					Tony Movshon

Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
					Center for Neural Science
					New York University
Phone:	   (212) 998-7880		4 Washington Place, room 809
Fax:	   (212) 995-4183		New York, NY 10003
------------------------------------------------------------------------
From: spahr@hpwala.wal.hp.com (Lani Spahr)
Newsgroups: rec.music.classical
Subject: Re: Re: HAYDN
Date: 10 Nov 92 19:34:28 GMT
Organization: Hewlett-Packard Company

In article <1992Nov9.170657.19854@spang.Camosun.BC.CA>, dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
|> In article <1992Nov8.060054.19013@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
|> [....]
|> >b) He's wrong, anyway.  The Haydn revival happened in the 60's and 70's.
|> >We got at least two complete sets of Haydn symphony recordings, 
|> 
|> I must have missed one of the symphony cycles: much as I hate to
|> disagree, but I thought the Dorati was still the only complete cycle.
|> (Gobermann started one but died before he could finish it). I'll be
|> interested in being proved wrong.
|> 

There was one from (I believe) the same time period as Dorati that Musical 
Heritage Society was doing (and completed) - conductor's name escapes me and the
orchestra was the generic Lower-Austrian-run-of-the-mill-pick-up-band. I
remember hearing some when they first came out and they were essentially run-
throughs (alla Leslie Jones/Little Orchestra of London on Nonesuch).

Lani Spahr
spahr@hpand5.and.hp.com
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: HAYDN
Date: 13 Nov 1992 15:10:08 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Kiwi (kldawkin@undergrad.math.waterloo.edu) wrote:
: >: They say he was one if not the most prolific composers of the
: >: period...perhaps he was a "formula" man who found his niche and
: >: profitted from it at the cost of quality.  Everything I've heard sounds
: >: the same to me. 
: >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.
Newsgroups: rec.music.classical
From: alexande@borland.com (Mark Alexander)
Subject: Re: It's in the wrists.
Originator: alexande@genghis.borland.com
Organization: Borland International
Date: Thu, 12 Nov 1992 18:51:23 GMT


It may be nice to have long fingers and wide spread, but short stubby
fingers are better for speed and delicacy.
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Newsgroups: rec.music.classical
Subject: Re: Bare Vs. Bold
Date: 10 Nov 92 19:27:54 GMT
Organization: HAC - Johns Hopkins University, Baltimore

In article <1992Nov10.173943.25804@credence.com> jeffw@or.credence.com (Jeff Winslow) writes:
>
>Although, personally, I would have thought there would be a Russian bare
>in there somewhere.

Russian bare versus bald eagle? that explains...

(cat follow-ups > alt.silly.puns)

-- 

	Francois Velde
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: Length of Wagner's operas (was librettos ....)
Date: 10 Nov 92 23:54:40 GMT
Organization: DSC Communications Corp, Plano, TX

I can't resist reposting this article by Phil Gustafson from 
soc.culture.british. I hope it's not a breech of network etiquette.

g.p.
----------

In article <BxF87v.268@rahul.net> phil@rahul.net (Phil Gustafson) writes:
>In article <1992Nov3.100808.18246@infodev.cam.ac.uk> gdb15@cl.cam.ac.uk (Guy Bar
ry) writes:
>>Could someone post the entire libretto of Wagner's "Ring" cycle (all
>>four operas, please), if possible with both a literal translation and 
>>a singing translation?  Thanks.
>>
>
>Well, I can give you an outline:
>
>  Rhinemaidens: Weia! Waga! Woge, du Welle, walle zur Weige! Wagala weia, etc
>
>This doesn't mean much in any language, so I'll skip the translation.
>
>  Alberich: Wie durch Fluch er mir geriet, verflucht sei dieser Ring.
>
>This means "Put this ring on, and you're verflucht." Nobody pays attention.
>
>Now, Donner has a great noisy aria, but the next crucial line is on the
>next night:
>
>  Hunding: Heilig ist mine Herd: heilig sei dir mein Haus!
>
>This means, "This is my house, and I'll feed you, but keep your hands off
>my wife." Ha.  A few tuba notes later, Hunding notices a surprising
>resemblance between Seiglinde, his old lady, and Seigmund, his visitor,
>and says:
>
>  Hunding: Wie gleicht er dem Weibe! Der gleissende Wurm glaenzt auch
>  ihm aud dem Auge.
>
>This has been translated as "He has the same snaky look as my wife".
>S. and S. are of course twins, and spend the next act making noisy
>exuberant love.
>
>The rest of the Opera has valkyries saying "Hojotoho", and Wotan
>and Brunnhlide just going on and on and never shutting up.
>
>The next night, we have "Siegfried", perhaps the most monumentally
>unfair opera ever written.  The poor tenor stomps around and makes
>a sword and kills a dragon, all the time singing at the top of his
>lungs.  Three hours into the show, he gets involved with competitive
>singing with a well-rested soprano who is often bigger than he is.
>
>  Siegfried: Das ist kein Mann!  Brennender Zauber zueckt mir ins
>  Herz; feurige Angst fasse meine..
>
>He has discovered that Brunnhilde is a woman.  He briefly believes
>that she is his mother (actually, she's his aunt) but soon figures
>things out, and the two have a monumentally noisy coupling.
>
>The key line from the finale is:
>
>  Brunnhilde:  Ruhe, ruhe, du Gott!
>
>Which means, hey it's over.  Twenty hours and (at San Francisco)
>$400 (plus refreshments) later, everything goes back to pretty much
>the way it started, except Wotan
>up.
>
>New Wagnerites are very strongly urged to find a copy of Anna Russell's
>version of the Ring.  There's a dichotomy here: we're talking about the
>most beautiful music to spring from a human pen, and we're talking about
>a plot line that the Marx brothers would have rejected.
>
>
>-- 
>Phil Gustafson <phil@rahul.net>
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Newsgroups: rec.music.classical
Subject: Re: obscene lyrics advisory--new Baltimore Consort album!
Date: 10 Nov 92 13:08:40 GMT
Organization: HAC - Johns Hopkins University, Baltimore

In article <1992Nov10.002150.12262@magnus.acs.ohio-state.edu> jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>I've heard that the new release by the Baltimore Consort, "The Art
>of the Bawdy Song:  Music from the Gutters of 17th Century England"
>due out next Monday, will contain a label warning of lyrics which some
>may find objectionable.  I find this quite amusing, to say the least--
>how many teenagers are likely to go rushing out to buy this album?
>Does anyone know of any other "classical" album which took such an
>action (and no, P.D.Q. Bach's "pathetic lyrics" advisory regarding 
>"Classical Rap" (from the "Oedipus Tex" album) doesn't count!)?

I don't, but I know that Clement Jannequin wrote music for some very
bawdy songs by Clement Marot. The language is somewhat obscure 16th c.
French anyway, so an advisory is not needed.
-- 

	Francois Velde
Newsgroups: rec.music.classical,rec.music.misc
From: pace@rook (Stephen O. Pace)
Subject: Can you name these tunes?
Followup-To: poster 
Organization: Shell Oil
Date: Thu, 5 Nov 92 22:30:33 GMT

I am posting this for people without Usenet access.  Please respond by
e-mail if you can.  Thanks!

Name That Tune

1.  I have been trying to identify an obscure piece of music for nearly a
year now.  It was used as the theme for an old BBC TV series, "The
Commanders", about the exploits of WWII military leaders.
    It is featured in the TV commercial for "Egoiste" perfume, in which a
European lady opens the shutters of her balcony and shouts "Egoiste!!!"
This scene is rhythmically repeated in geometric progression until all the
shutters on the entire building's facade open and shut at once.
   It is a very haunting and aggressive musical work.  Please help me
track it down.  It may be by Prokofiev, but I can't be sure.

        Edward Fisher, Pine Bush NY

2.  The 1977 Ridley Scott film, "The Duellists", is pervaded by a haunting
flute piece.  I have searched the credits and can find no mention of the
piece.  Credit for the film's music goes to Howard Blade.  Did he indeed
compose the melody?  Is it available on a recording?  Please help!

        Laurie Watson, Connecticut
-- 
Stephen Pace                                       pace@shell.com
Shell Oil Company, Houston                           713/493-7929
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Abduction of Figaro for sale
Date: Wed, 11 Nov 1992 14:09:01 EST

Occasionally I see comments here about the availability PDQ Bach's
Abduction of Figaro video.  At one point I looked for where to buy it and
was told it was out of print.

Maybe that was never true.  At any rate, I got a catalog in the mail
recently that offers it for sale, and I'm posting it here in case anyone is
interested and has had trouble finding it.  I have no connection with this
organization, though their catalog is full of books on tape and it looks
pretty interesting.  I have no firsthand experience of dealing with them.
Here's the info:

The Mind's Eye
PO Box 1060
Petaluma, CA  94953
1-800-227-1849
From: haynes@cats.ucsc.edu (Jim Haynes)
Newsgroups: rec.music.classical
Subject: Re: It's in the wrists.
Date: 9 Nov 1992 22:16:34 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: hobbes.ucsc.edu


In article <1992Nov9.150713.4035@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
>I don't ever remember Liszt having hands that big. Rachmaninov could...

That's OK.  Hardly anybody living today remembers Liszt at all  :-)
-- 
haynes@cats.ucsc.edu
haynes@cats.bitnet

"Ya can argue all ya wanna, but it's dif'rent than it was!"
"No it aint!  But ya gotta know the territory!"
        Meredith Willson: "The Music Man"