HDTenEightyP/NetNews huggingface dataset:
From: jpaxton@andy.bgsu.edu (joshua paxton)
Newsgroups: rec.music.classical
Subject: "Hommage a Thelonious Monk" by Casterede - HELP!
Date: 29 Sep 92 17:27:48 GMT
Article-I.D.: andy.BvCoIC.M6n
Organization: Bowling Green State Univ.

I found the score to a piano peice called "Hommage a Thelonious Monk" by
Jaques Casterede, and I'm trying to find a recording of it.  None of the
local record stores can find it, and it's not even listed in that huge
"Phonolog" thing.  Any ideas where I might find a copy?  It's a French
piece, so I was thinking of trying to find a place that sells import
classical albums.  Does anyone know of any?  I very rarely buy classical
albums, so I wouldn't know where to begin.  any help much appreciated!

Josh
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: Berceuse?
Date: 28 Sep 1992 12:44:17 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <717640113.1226.0@romulus.mercury.andrew.cmu.edu> Ken Zuroski <kz08+@andrew.cmu.edu> writes:

>While listening to the radio, I heard a haunting melody that I liked. The
>commentator said it was an electronic version of Stravinsky's Berceuse.
>I thought: great, I'll buy a copy of the classical version. 

>What's the deal? I can find Chopin's Berceuse listed in my online CD
>database, but not Stravinsky's. It must be part of a larger work?  

I believe it's part of the Firebird ballet. I know of a couple of electronic
versions. If what you heard sounded like synthesizer and piano, it may have
been the "Art of the Theremin" album on Denon (? I think). I believe that
Tomita also has done an electronic version.

Bill
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Re: Bruno Walter's Mozart recordings
Date: 28 Sep 92 05:53:58 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

It's a poor listener who cannot enjoy Mozart played in several different
styles. Walter's recordings represent a wonderful, if romantic, view of
Mozart's late symphonies. You'd have to have tin ears not to find many
beautiful things in them, even if the style is not your first choice. If
you're politically committed to hearing this music *only* with original
instruments in small groups, it's your loss.

If you like the style, I'd also commend highly the Giulini/NPO coupling
of Symphonies 40 and 41, available on London's cheap Jubilee label.
---
					Tony Movshon

Internet:  movshon@nyu.edu

US Mail:   Howard Hughes Medical Institute
	   Center for Neural Science
	   New York University
	   4 Washington Place, room 809
	   New York, NY 10003
From: rbrooks1@cc.swarthmore.edu (Rob Brooks)
Newsgroups: rec.music.classical
Subject: Mahler 9 (was Re:Mahler 1)
Date: 2 Oct 92 15:49:59 GMT
Article-I.D.: cc.459QBRRW
Organization: Swarthmore College

In article <1992Oct2.022221.5496@cucs5.cs.cuhk.hk>,
bmtong@cucs11.cs.cuhk.hk (Tong Bo-Ming) writes:

stuff deleted...

> 	I would also like to hear about all the favourite recordings of
> Mahler's 9th and Song of the Earth.  Any suggestions ?
>
I recently bought Barbirolli's version of the ninth and it is quite good
(the finale is magical).  The best I've heard is without a doubt
Haitink/Concertge-
bow from his 70's cycle and Karajan's is well worth looking into.  As far
as "Das Liede" goes the performance on EMI with Klemperer/Ludwig/Wunderlich
has this kind of effect on you: A while ago my dad was driving home when
this recording came on the radio and he stopped by the side of the road to
hear the whole thing.  It's awesome.

Rob
From: kimp@nuge101.its.rpi.edu (Phil Kim)
Newsgroups: rec.music.classical
Subject: Re: Why switch to CD?
Date: 6 Oct 92 03:16:17 GMT
Reply-To: kimp@rpi.edu
Organization: Rensselaer Polytechnic Institute, Troy, NY.

If you are reluctant because of the price of a CD player, then how about buying one from me?  I use laserdisc player as my CD player so I have no use for my CD player.  It's somewhat old Sony CPD-591 (I think), and I bought it about 1-2 years ago for $180.  It works perfectly and comes with a remote control.  I could sell it for....say $70 with free UPS Ground shipping and handling?
From: potoole@maths.tcd.ie (Peter O'Toole)
Subject: Re: Beethoven's 32nd sonata
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.
Date: Mon, 5 Oct 1992 13:02:21 GMT

In article <1992Oct2.185116.21932@sarah.albany.edu> pawel@tethys.ph.albany.edu writes:
>In article <music.717983852@batman>, music@moravian.edu (Steve Heller) writes:
>>I think the point was more that the music [Beethoven's sonata]
>>"sounded jazzy/rag-like"
>[...]

To me, the piece suggested a Charleston rhythm. The "original" Charleston
was written by the Harlem stride pianist James P.Johnson, and lo and
behold, he was strongly influenced by Beethoven. He spoke about adapting
key changes he heard in the sonatas, but oddly enough, I don't think he
mentioned op.111. 

Peter O'Toole,
Trinity College Dublin.
From: pkbockus@gsbphd.uchicago.edu (Keith Bockus)
Newsgroups: rec.music.classical
Subject: Bach Cello Suites on Period Instrument: Rec. Wanted
Date: 6 Oct 92 06:51:25 GMT
Organization: University of Chicago Computing Organizations

I'm looking for a recording of the Bach Cello suites
on a period instrument, but haven't found any 
recommended recordings.  Any suggestions 
(or reasons why I should not be looking for
such a thing)?

Thanks in advance!

Keith Bockus 
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: Beethoven's 32nd sonata
Date: Thu, 1 Oct 92 20:04:01 EDT

I think the point was more that the music "sounded jazzy/rag-like"
rather than that it was an actual "root" (however deep) of the ideom
(at least this is what I feel). Jazz is an extension of dance rhythms,
as are many of the snappier elements of Beethoven's and many, many
other composers, probably since man first whistled a tune or tapped a
toe.
-- 
*-------------------------------------------------------------------------*
#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
From: icking@gmd.de (Werner Icking)
Subject: Re: Music for Horn and Violin?
Organization: GMD, Sankt Augustin, Germany
Date: Mon, 5 Oct 1992 12:00:35 GMT

In <1992Oct4.234553.12291@cs.yale.edu> ronthal-adam@CS.YALE.EDU (Adam Ronthal) writes:

>Anyone out there know of any good chamber music for French Horn and Violin?
>I'm not looking for anything with other instruments as well, for example the
>Brahms Horn Trio, but only Horn and Violin. 

I have one :-); a nice piece; it's not published up to now; it's copy-
rigthed (automatically by german law); the composer H. Irsen died two(?)
years ago. I "typeset" it with MusicTeX from a copy of the autograph the
composer made for me (it's Urtext :-); may be that I could provide it as
DVI- or PS-file. It's called "Jagdmusik" (hunt-music) and consists of
variations of a german song "Ein Jaeger aus Kurpfalz" (A hunter from
"imperial palace"?)

If you want it for private use. 

As far as I know there are other pieces for Violin and Horn by Hindemith.

Werner
--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
Newsgroups: rec.music.classical
From: dgottli1@cc.swarthmore.edu (Daniel Gottlieb)
Subject: Re: Orchestras/conductors
Organization: Swarthmore College
Date: Fri, 2 Oct 1992 15:31:48 GMT

In article <1992Oct1.042835.13776@nuscc.nus.sg>, art30248@nusunix1.nus.sg
(NG LING LING) writes:
> 
> I wonder if any of you can help me. I'm doing a compilation of some of
> the big name orchestras and hope to do a list of who's conducting who
> (or who's the Musical Director).
> 
> European Orchestras:
> 1.   Berlin Phil         Abbado
> 2.   Vienna Phil         ?
> 3.   London Symphony
I think that Michael Tilson Thomas is in London, isn't he?
As far as I know, nobody is the principal of Vienna Phil.
Also, Ashkenazy is at Berlin Radio Symphony, and one other is Yuri
Temikranov I think at the Leningrad Phil.
Everybody forgot two of the best American orchestras: Minnesota Orchestra
(Edo De Waart (spelling) and St. Paul Chamber Orchestra (I think Hugh
Wolff, but don't kill me if I'm wrong).



Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Why switch to CD?
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 5 Oct 1992 20:33:37 GMT

In article <1992Oct5.140930.20020@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
[...]
>> Also, once I've gotten past the
>>initial costs, I then face the longterm cost of converting a large collection
>>of records and tapes to CD, a significant investment I don't see the point
>>of--and probably would not be compelled to make.
>
>This is something I've never understood.  Just because you buy a CD player
>does not mean that you have to convert all your records to CD.  There's 
>nothing so wrong with a vinyl record when it's well-played.  Listen to your
>old recordings on vinyl, and your new ones on CD.

Exactly. After I bought my CD player, I did buy a couple of
duplicates, but then I heard a friend's Linn LP12 turntable. After
that I didn't rest until I had one too. Since when I have actually
bought *more* LPs than CDs, mostly in second-hand stores. Despite the
wealth of stuff on CD there are still things which are long
unavailable which have yet to appear on CD. But you do find them in
second-hand stores.....

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.

Newsgroups: rec.music.classical
From: wyatt@othello (Wyatt Sutherland)
Newsgroups: rec.music.classical
Subject: Re: suggested pieces for cello & piano?
Date: 28 Sep 92 18:37:25 GMT
Distribution: usa
Organization: First National Bank Of Chicago, Chicago IL, USA

In article <92269.103832CSVBMD@CMUVM.CSV.CMICH.EDU>  
<CSVBMD@CMUVM.CSV.CMICH.EDU> writes:
> Most professional cellists consider Rostropovich to be the king of  
cellists
> (if there really is such as thing).

I guess it depends on which aspect of cello playing your talking  
about: Musicianship, Maturity, Technique, Sound, Interpretation, the  
composition and so on.  I Think it was Casals who said "What is an  
artist, but one who can convince you that his way is the *correct*  
way, at that moment."  Rostropovich is a great cellist but have you  
heard him perform Bach, Cassado, Schubert or Kodaly to name a few?   
*YUCK* the sound is forced, loud and certainly not clean.  However  
let's talk about Shostakovich, Prokofieff, Britten and some others.   
*WOW* what incredible sound.  It depends on the composition.  Don't  
get the wrong idea, I really love Rostropovich's playing, but it's  
like comparing a sumo wrestler with a gymnast.  Brut verses finesse.



-- NewsGrazer, a NeXTstep(tm) news reader, posting --
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`
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Encores? Unusual performance by the Melbourne Symphony Orche
Date: 29 Sep 92 12:44:05 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

> Richard A. Muirden [GA writes:
>
> We were supposed to have Vernon Handley conducting
>
> [I thought he was dead! -- MQ]
>
> The pianist, an american japanese was wonderful, and he was so nice, when
> he finished he *hugged* the conductor...
>
> Beethoven: Piano Concerto No. 5 "Emperor"
> Jon Kimura Parker, piano.
>


What kind of program notes do you have? J.K. Parker is CANADIAN!! (He makes at
least one appearance with the Vancouver Symphony per year and is referred to
incessantly as "Vancouver's own". By the way, he has a brother, Jamie, who is
also appearing with the VSO as a pianist, also referred to as "Vancouver's
own".)

Newsgroups: rec.music.classical
From: sstrong@kean.ucs.mun.ca
Subject: Who Composed 'A Midsummers Night Dream"?
Organization: Memorial University. St.John's Nfld, Canada
Date: Mon, 28 Sep 1992 15:35:39 GMT

As the title says.. Who composed "A Midsummers Night Dream" ?
I Believe if was Mendelson (SP?) but I am not 100% sure, (But I am sure 
someone out there is.).
Can someone please mail me (or post but I doubt this trivial info will be 
of interest to anyone else) with the answer.

Thanks.
Steve Strong.
-- 
sstrong@kean.ucs.mun.ca
Electrical Engineering, Memorial University of Newfoundland
Newsgroups: rec.music.classical
From: syliao@athena.mit.edu (S Yi-Huang Liao)
Subject: Mahler's 8th Symphony
Organization: Massachusetts Institute of Technology
Date: Mon, 5 Oct 1992 22:55:48 GMT

I'm seeking recommendation on this Symphony.  I have listened to the following
recordings:

Tennstedt (London SO)
Solti (Chicago)
Kubelik (Bavarian Radio)

and have found various bugs with each.  Among some of the most annoying bugs
are:

(1) The London's brasses are kind of sloppy in many passages.  Also, the organ
did not play its full sound at towards the climax "Alles Vergaenliche" where the
score marks "Volles Werk".  That's a true disappointment because the tension of
the entire piece sort of builds towards this climax.
(2) Chicago has a much, much better brass section than London, although at some
passages they are out of tune, too.  The tenor and baritone soli don't seem to
hit the precise pitch right on the note.
(3) The male soli in Kubelik's are more precise than those in Solti's.  However,
the female soli often have intonation problems.  Some phrasings were also
inconsistent with the score and the lyrics.

I know this is a difficult piece to perfrom, but given the professional quality
of modern orchestras and recording technology,
I expect more than these have to offer.  I'd like to listen to your opinions
on the following recordings and any others:

Bernstein
Ozawa
Shaw
Inbal

Many thanks in advance.

Stan Liao
syliao@rle-vlsi.mit.edu
Newsgroups: rec.music.classical
From: ashley@oasis.gtefsd.com (Bob Ashley)
Subject: Re: Music Club (Mail Order) Recommendations So
Reply-To: ashley@oasis.gtefsd.com
Organization: GTE Federal Systems Division
Date: Mon, 5 Oct 1992 22:39:29 GMT

In article 1aqbv1INN2u2@agate.berkeley.edu,  newton@garnet.berkeley.edu (Isaac Newton) writes:
>Hello,
>
>I'm looking to join a music club.  If you have a recommendation
>for one, I would love to know about it.  My main criteria is
>selection, especially operas.
>
>Thanks,
>Newton
>

The two big mail order groups are BMG Classical Music Service and Columbia
House.

I belong to the former ... their startup arrangement is where you get four
CD's free, buy one at regular price, then get three more free (when the
inital one is paid).  You pay shipping and handliing as well.

Their specials vary from offering to offering.  The basic one is buy one
at regular price, get the next and 50% off, plus S/H.  Then, there are times
where you can buy two and 50% and get the third free, or buy one at regular
at get two free.  Again, you pay S/H for the discs ...

Each offering, there will be a "Featured Selection", and that comes to you
automatically if you do not send in the card.  There is also a catalog that
comes with the packet.  These usually arrive every 3 weeks (on average).

I've been quite pleased with BMG ... just when I think I've saturated the
discs in the area that I like, along comes a new set of selections from which
to choose.  It's certainly worth the initial investment (8 for the price of 1)
to give them a try.


Bob

------------------------------------------------------------------------
Bob Ashley                        Internet:  Bob.Ashley@oasis.gtefsd.com

Software Engineer, (703)-818-4656  | Winter Bowling Leagues 1992-1993
   GTE Federal Systems Division    |    GTE FSD Mixed Secretary: Thu 17:45
   15000 Conference Center Drive   |    Thursday Mixups:         Thu 20:30
   Chantilly, VA   22021-3808      |    NFL Mixed Secretary:     Mon 21:00
From: midkiff@public.BTR.COM (Neil E. Midkiff  midkiff@btr.com)
Newsgroups: rec.music.classical
Subject: Re: haydn symphony recommendations
Date: 1 Oct 92 19:10:30 GMT
Organization: BTR Public Access UNIX, MtnView CA. Contact: Customer Service cs@BTR.COM

In article <1992Sep30.215247.13869@Princeton.EDU> roger@astro.princeton.edu 
(Roger Lustig) writes:
[in response to a discussion of whether Haydn or Mozart is the greater 
symphonist]
>Mozart only has a few great symphonies at all -- [the Jupiter, G minor], the
>E flat, the Prague, Linz,Haffner, and Paris, plus a few of the earlier
>ones that get played a lot: little G minor and Amajor, K.201.  Haydn's
>imagination can be seen at work in the great variety presented in the 
>twelve London symphonies alone; add to these the Paris set, 88 and 92,
>and you have twenty towering masterpieces to set against Mozart's four
>super works.
>
>Haydn produced more works of the highest caliber in the genres of
>the symphony and the string quartet, and did so over a longer period.
                                                 ^^^^ ^ ^^^^^^ ^^^^^^
>His finest quartets and symphonies are at least the equal of Mozart's;
>that's my opinion and that of many others.  We don't consider it
>overboard at all.

I'll be happy to add my name to the list of Haydn fans, too.  One thing
that only impressed itself on me recently was that the Oxford (92) and
London (93-104) symphonies were all written *after* Mozart had stopped
writing symphonies (K. 543, 550, 551 in summer 1788).  I guess I had 
previously pigeonholed Haydn (born 24 years earlier) as an earlier 
generation than Mozart, and didn't realize how fruitful he was in the
years following Mozart's death.

I remember reading that Mozart and Haydn knew each other's string quartets
well, and each learned from the other's experiments and innovations.  Do we
know whether Haydn was able to hear performances of, or had access to 
scores of, the Mozart symphonies?

I don't intend to imply in any way that Haydn's success was imitative.
Other posters have made the point that Haydn laid the foundations of the
Classical quartet and symphony early on, and that much of his distinctive
style arises from his "mind-games" with bending the rules and tweaking
the listener's expectations.

Still, it would be interesting to know whether some of the same cross-
pollination effect was at work in the symphonic field between these
two giants.

-Neil
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: music scores cost a fortune!!!
Date: 5 Oct 92 09:47:08 GMT
Organization: Oxford University VAX 6620

In article <1992Oct2.023759.7695@nuscc.nus.sg>, art30248@nusunix1.nus.sg (NG LING LING) writes:
> A pal of mine studied music in Moscow once and told me that Soviet (RIP)
> scores were (by Western standards) dirt cheap.
> 
> My anthropology prof also said that when he was in Tashkent, he bought
> back a ton of scores again on the cheap. However, both of them said that
> you'd need to be roughly aware of what certain composers names look like
> in Cyrillic, cos bookshop keepers don't know much English.
> 
> For instance, Shos's 15th symphony cost about US$3.
> 
> Wonder if we can get some bookshop's name and get them to send such
> stuff to us today. Heard they need the business.

I had a similar experience in Hungary four years ago. I spent 25 pounds on what
I guesstimated would be 300 pounds worth of music at home. Everything froma
complete Beethoven piano sonatas Urtext edition at about 3 pounds (then 25+
here) to hardback miniature full scores of the Bach Passions at 2 pounds each
(15+ each here). I suspect that things have changed now with the advent of the
modern god of the free market.
-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: London Philharmonic Orchestra
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 1 Oct 1992 16:00:10 GMT

In article <+5-p#ck@lynx.unm.edu> lundgren@vesta.unm.edu (Chad Lundgren) writes:
:
>As an interesting side note, I extrapolate that in the future, Europe will
>have a stranglehold on all the top notch and innovative orchestras because 
>the U.S. government does not help the symphonies nearly as much as European
>governments seem to.

Tax the many to subsidize the pleasures of the few.  Way to go, Chad!

>
>Informations, criticisms, and flames (if they're well-written) are welcome.
>I'd prefer email, but if you feel like you *have* to impart your knowledge 
>to everybody here, feel free.

Thank you.

>
>-- 
>Chad Lundgren  
>Internet: lundgren@vesta.unm.edu   or  lundgren@ariel.unm.edu
>Bitnet:  LUNDGREN@UNMB                 Location:  35 N 106 W
>When most Americans see the word 'socialism', they see red.

Clever.
From: schuch@efes.physik.uni-kl.de (Andreas Schuch [CIP])
Newsgroups: rec.music.classical
Subject: Re: Orchestras/conductors
Date: 2 Oct 92 12:33:54 GMT
Organization: FB Physik, Universitaet Kaiserslautern, Germany

In article <1992Oct1.042835.13776@nuscc.nus.sg> art30248@nusunix1.nus.sg (NG LING LING) writes:
>I wonder if any of you can help me. I'm doing a compilation of some of
>the big name orchestras and hope to do a list of who's conducting who
>(or who's the Musical Director).
>
>European Orchestras:
>1.   Berlin Phil         Abbado
>2.   Vienna Phil         ?
Isn't Claudio Abbado also the Musical Director of the Vienna Phil?
>3.   London Symphony
>4.   London Phil         Franz W. Most
>5.   Royal Phil
>6.   Dresden Staatkapellen
>7.   Concertgebouw       Chailly
>8.   Suisse Romaunde
>9.   any others ?
Gewandhaus-Orchester Leipzig    Kurt Masur

--
	Andreas Schuch
	schuch@physik.uni-kl.de