HDTenEightyP/NetNews huggingface dataset:
From: spworley@netcom.com (Steven)
Newsgroups: rec.music.classical
Subject: Re: Anyone heard of Huenter Kradaken?
Date: 5 Jan 93 09:30:10 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

dementia@cheshire.oxy.edu (Daniel Steven Reinker) writes:

>Has anyone heard of this very obscure composer? I have heard his
>third symphony, which is also called "St. Peter and the Four Dragons"
>and would like to know if he has done anything else.

Yup, I've heard that symphony as well. He has a definate style that I
liked a lot! Unfortunately I don't have any recordings at all, nor do
I know where to get them (I listened to it a few years ago on an old
8-track tape, I believe!) There's one part in the piece that has
several minutes of a solo bell ringer.

So all I know is my vague recollections from the liner notes about 
Kradaken writing all his music in a brief span of a year or two, then
giving up music completely to become a zoologist.

If anyone has any more information, I, too, would be interested in knowing
more about Kradaken.

-Steve

spworley@netcom.com
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: When did Ives stop composing?
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Mon, 4 Jan 1993 21:04:12 GMT

b-grant@nwu.edu (Barry Grant) writes:
: I was speaking with someone from our music school who said he though Ives
: stopped composing music at age 29. This doesn't seem right to me. Does
: anyone know the facts?

Ives's last major work was   the Fourth Symphony completed in   c1916,
when he would have been 41/2 (he  was born in  October 1874). He had a
heart attack at around this same  time and  this has been suggested as
the reason he  ceased  composing - although  he   continued to  revise
earlier works, e.g.  the Three Places in  New England which he revised
from   its original full  orchestra  version  for Nicholas Slonimsky's
almost-chamber ensemble in 1931 (I think).

The latest significant reworking I'm aware of is  the 1917 song 'He Is
There' which became  'They Are There'  in 1943;  there is a  recording
extant of Ives playing *and* singing this, which appeared in  the 1974
centenary  box on  CBS (where  the hell  is *this* Sony?). It was this
recording which the  Kronos Quartet  added  their own 'tasteful' (read
self-serving and redundant)  accompaniment to on the  Black  Angels (I
think) CD.

Judging from the amount of recent Ives activity on CD it may be that
his time has - at long last - come.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Newsgroups: rec.music.classical
Subject: Re: Marais/Sainte Colombe CD
Keywords: Marais, Sainte Colombe, Tous les matins du monde
Date: 12 Jan 93 20:56:01 GMT
Organization: Homewood Academic Computing, Johns Hopkins University, Baltimore, Md, USA
NNTP-Posting-Host: jhunix.hcf.jhu.edu

In article <C0rBrz.4qC@watserv1.uwaterloo.ca> phatak@watserv1.uwaterloo.ca (Aloke Phatak) writes:
>I think I missed this the first time around.  Could somebody post
>the title, label, catalogue number, etc. of the soundtrack of the
>film "Tous les matins du monde"?  Are there any other CDs of music
>by Marais or by Sainte Colombe in the catalogue?

The soundtrack is on the label Valois.

Other recordings:
Sainte Colombe: concerts a deux violes egales. from a single manuscript
	discovered in 1966, published in 1973. Played by Jordi Savall, 
	Wieland Kuijken. Astree.

Marin Marais (1656-1728): I think the following list covers all his chamber 
music.
	* 1st book (1686): selections, by J. Savall, Christophe Coin viols,
	  Ton Koopman harpsichord, Hopkinson Smith theorbo. Astree label.
	* 2d book (1692): selections, by Savall, Anne Gallet harpsichord, 
	   H. Smith. Astree.
	* 3d book (1701): selections, by Savall, Koopman, Smith. Astree.
	* 4th book (1717): suitte d'un gout etranger. Savall, Koopman, Smith.
	* 5th book (1725): selections, by Savall, Koopman, Smith. Astree.
	* trios (1692): by the trio Amalia, on Erato.
	* Sonnerie de Sainte-Genevieve (1723): Harnoncourt on Harmonia Mundi.
	* La Gamme. Sonate la Maresienne (1723): London Baroque on Harmonia Mundi.

there are of course other recordings of the same. Those are the ones I have
and like. Savall is superb mo matter what he plays, it seems. I think that
the 5th, 4th and 2d book are really outstanding. The movie used pieces from
the 4th book (and the 2d too, possibly).  The second book has "Les Voix
Humaines" and "les Folies d'Espagne".  The 4th has La Reveuse, le Badinage,
as well as Le Tourbillon, and other great pieces.

Marais also composed operas, 4 I think, which were highly regarded at the
time. He composed supposedly very much in the style of his master Lully, 
which is to say a kind of opera fairly different from the Italian kind
(Lully, although and perhaps because he was Italian, basically outlawed
all Italian music during his reign in France).  I don't think I have ever
seen mention of Marais' operas having been recorded.

I have seen at least a couple of recent recordings of Sainte-Colombe,
with pieces by Marais and others: Philippe Pierlot was one name. I
haven't heard them.
-- 

	Francois Velde
Newsgroups: rec.music.classical
From: mikulska@crux.Princeton.EDU (Margaret Mikulska)
Subject: Re: So exactly what's wrong with Bolero, anyway?
Originator: news@nimaster
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Date: Fri, 8 Jan 1993 19:52:01 GMT

In article <1993Jan8.161347.24241@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1993Jan8.045004.15896@noose.ecn.purdue.edu> lungtt@gus.ecn.purdue.edu (Terence T. Lung) writes:
>>In article <1993Jan8.035244.16097@mnemosyne.cs.du.edu> clavazzi@nyx.cs.du.edu (The_Doge) writes:
>>>In article <C0ILLv.EsB@world.std.com> kaya@world.std.com (Kaya Bekiroglu) writes:
>
>>>>Pardon my ignorance of classical music, but what is wrong with
>>>>Bolero?  I have heard only a portion of it, and it sounds alright
>>>>by me.. I happen to like it.
>
>>I think the question is where does it start and where does it end?
>>If you've heard a portion of it, you've heard all of it.
>>You can take the same portion and play with the volume and you've done it.
>
>This is decidedly not true, unless your volume control does tone colors,
>too.  Moreover, the ending is quite impressive--a musical collapse hardly
>paralleled elsewhere.  (Mahler 6?  Strauss Don Juan?)

For me, "The Rite of Spring".  Definitely.  "Collapse" is a very good
word for both endings, and I agree with Roger that the ending is quite 
impressive.

And of course "Bolero" is a piece with a very definite beginning and
end.

-Margaret
From: frank@rover.uchicago.edu (Frank - Hardware Hacker - Borger)
Newsgroups: rec.music.classical
Subject: Re: "Mob" version of Peter and the Wolf
Date: 5 Jan 93 21:26:00 GMT
Reply-To: frank@rover.uchicago.edu
Organization: Joint Center for Radiation Therapy
News-Software: VAX/VMS VNEWS 1.41

In article <gJBVwB1w165w@student.business.uwo.ca>, r4smith@student.business.uwo.ca (Richard Smith) writes...
>George Raft once did a version of Peter and the Wolf as though it were 
>about mobsters. Does anyone have any further information about this 
>recording?

	Raft??? I know of the version done by that unusual duo of "Wierd
	Al" Yankovic and Wendy Carlos. Yankovic does the voices with several
	topical accents, one of which is a mobster type. 

	For anybody who hasn't heard this, its either classic musical humor
	or totally ____, depending on your feelings. (I loved it.) Anybody
	who can add the part of Bob the Janitor, (represented by an accordion
	playing the "Clarinet Polka",) can't be all bad.

	Flip side is an expanded carnival of the Animals, (expanded to include
	Aardvark, Pigeons, Cockroaches, etc.)

   Frank R. Borger - Physicist    __       Internet:  Frank@rover.uchicago.edu
Michael Reese - Univ. of Chicago |___      Phone : 312-791-8075 fax : 567-7455
  Center for Radiation Therapy   | |_) _   
                                   | \|_)  By the time we've made it, we've 
    "Birthplace of Softball"          |_)  had it. - Malcom Forbes
From: bcc@tools8teradata.com (Brian Cantin)
Newsgroups: rec.music.classical
Subject: Re: Kempe conducts Richard Strauss - new reissues on EMI Classics
Date: 5 Jan 93 18:16:30 GMT
Organization: NCR/Teradata Business Unit

I would like to second the recommendation of the Kempe/Strauss set.
Reiner cuts him in those pieces he recorded with the Chicago Symhony, but not by much.
As a complete set, the Kempe performances are extremely valuable.  On sail for $6 a
disc, the set is also an impressive bargain.

The one point I want to disagree with is the sound.  The lps were used as hi-fi 
demonstration discs in the 70s as an example of natural sound.  The cd transfers
are pretty good.  I have some of the lps on British EMI (superb sound) and some on
German EMI (terrible sound).  The cd reissues are very nearly as good as the British
EMI releases.  If signal to noise ratio is the main criteria, cds are (of course)
better.

-- 
Brian Cantin
Newsgroups: rec.music.classical
From: cstringe@silver.ucs.indiana.edu (Chuck Stringer)
Subject: Re: Anyone heard of Huenter Kradaken?
Organization: Indiana University, University Computing Services
Date: Tue, 5 Jan 1993 18:29:53 GMT

mjenkins@alfred.carleton.ca (Michael Jenkinson) writes:
|
| Oh, indeed his second was superior to the third, but the third
| symphony had that *je ne se quoi* about that always stirs my heart.
| 
| I really don't know why Kradaken never really broke more to the
| "mainstream". It's unfortunate.
| 
Yes, the second and third symphonies were incredible, but the first is
the one that always brings me to tears. To think that he wrote it
after Turet's syndrome ended his promising career with the church.
From: cmkuo@cs.utexas.edu (Chin-Ming Kuo)
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Date: 6 Jan 1993 22:16:38 -0600
Organization: CS Dept, University of Texas at Austin
NNTP-Posting-Host: pageboy.cs.utexas.edu

If you like Chopin's music, give the following a try:
Hummel B minor by Stephen Hough with English Chamber Orchestra, Chando 8507.
-- 
Chin-Ming Kuo
cmkuo@cs.utexas.edu
{uunet,rutgers,ti-csl}!cs.utexas.edu!cmkuo
Newsgroups: rec.music.classical
From: lungtt@gus.ecn.purdue.edu (Terence T. Lung)
Subject: Re: Saint-Saens question
Organization: Purdue University Engineering Computer Network
Date: Fri, 8 Jan 1993 04:14:15 GMT

In article <1993Jan4.220458.1602@oct17.dfe.dec.com> chaban@fortsc.enet.dec.com (Ed Chaban) writes:
>
>Sorry if this message came across already, but...
>
>does anyone know why Saint-Saens forbid performance of "Carnival Of The
>Animals" until after his death?
>
>-Ed
I believe it was because Saint-Saens did not consider it a 
*serious* effort/piece.  It certainly has, by far, the "lightest" 
motif of all of the Saint-Saens works that I know of.  I think
he wanted to be known for serious/heavy stuff.  Is this correct?
I think there was something to be said about the nationalism
happening at the time too.(Unlike its neighbors at the time,
France needed some musical character.)

Terence
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: Bruckner: second try to post
Date: 6 Jan 93 21:06:34 GMT
Distribution: na
Organization: DSC Communications Corp, Plano, TX

In article <C0AE3p.9Mx@news.udel.edu> graziano@ravel.udel.edu (Lisa Marie Graziano) writes:
>
>
>I am unfamiliar with Bruckners music but wouldn't mind learning something
>about him.  But it seems reading the postings is a waste of time.  People
>confuse "I don't personally enjoy his music"  with  "His music is
>worthless and anyone who likes it is a bozo."  Those who like him are
>fairly informative.  Those who don't seem incapable of giving intelligent
>information...  ie, "He Sucks"- now what the hell is that supposed to tell
>me?? That you don't like him??  I couldn't care less.  
>
>Try giving specifics; HOW is his musically technically/musically at fault.
>Thanks.
>Lisa

Donald Francis Tovey had perhaps one of the most penetrating and insightful musical minds
among modern musicians.  He has a couple of essays on Bruckner in his "Essays in Musical
Analysis" (some where in the two volumes on Symphonies).  He points frankly to the weaknesses
in Bruckner that are obvioux, namely that he attempts to squeeze his musical ideas into
classical sonata forms that are not suitable to them.  But once you get over that, there
is much to learn from him and much that is sublime.  Tovey has essays on the fourth and
ninth symphonies, I believe, and maybe on some other works.  The books may be out of
print, but you can find them in most larger libraries or in any college music library.

In general, Tovey is really worth reading.  Casals called him the greatest musician of 
the twentieth century and one of the greatest musicians who ever lived.  I find his 
writing inspiring -- in spite of the fact that it occasionally goes over my head.  The
Essays in Musical Analysis were program notes for concerts he conducted in Edinburgh,
where he worked for many years.

Gerry Palo (73237.2006@compuserve.com)
Newsgroups: rec.music.classical
From: marcs@slc.com (Marc San Soucie)
Subject: Re: When did Ives stop composing?
Organization: Servio Corp, Beaverton Oregon, US
Distribution: na
Date: Wed, 6 Jan 1993 03:31:21 GMT

Deryk Barker (dbarker@spang.Camosun.BC.CA) writes:

> The latest significant reworking I'm aware of is  the 1917 song 'He Is
> There' which became  'They Are There'  in 1943;  there is a  recording
> extant of Ives playing *and* singing this, which appeared in  the 1974
> centenary  box on  CBS (where  the hell  is *this* Sony?).

Mmm, and what a striking performance it was. Creaky voice and all, he got 
more out of that tune than any trained singer I've heard.

    Marc San Soucie
    Portland, Oregon
    marcs@slc.com
Newsgroups: rec.music.classical
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Re: Favourite Organ Work Survey
Organization: Massachusetts Institute of Technology
Date: Wed, 6 Jan 1993 21:21:59 GMT

In article <1993Jan6.035037.18510@spang.Camosun.BC.CA>, dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
|> knotts@hpl-opus.hpl.hp.com (Tom Knotts) writes:
|> : In rec.music.classical, syliao@athena.mit.edu (Stan Yi-Huang Liao) writes:
|> : 
|> : > mrapple@quack.sac.ca.us (Nick Sayer) writes:
|> : > > ObOrgan: Tochata & Fugue in D minor, JSB. The
|> : > > famous one. Overused, but undeniably excellent.
|> : > 
|> : > There are some disputes on the authenticity of BWV 565.  Is there a
|> : > convincing proof/disproof on this matter?
|> : > 
|> : 
|> : There is no serious dispute that JSB was the author. There has been talk
|> : recently that the work was originally written by JSB for the violin,
|> : then later transcribed by JSB to the organ. I think this is quite
|> : plausible.
|> 
|> Someone will correct me on this, but wasn't it Peter Williams from
|> York (?) University in England who suggested that JSB was *not* the
|> author? He apparently wrote an article in a journalm which I have not
|> read, and also did a talk on BBC R3 about 7 years ago - which I recall
|> hearing - outlining his theory. He sounded fairly serious to me. :-)

The artice was in the journal Early Music, which should be available in most good
music libraries. It is well worth the reading. Williams didn't (as I recall) come
out flat against Bach's authorship, but he raises enough questions (one of
Williams' most infuriating traits - alway raising questions) to imply that the
evidence is against Bach. In essence, Williams feels the piece - in terms of
style, technique (composition and playing), and originality - is just not up to
snuff for Bach.
Newsgroups: rec.music.classical
From: cstringe@silver.ucs.indiana.edu (Chuck Stringer)
Subject: Re: Anyone heard of Huenter Kradaken?
Organization: Indiana University, University Computing Services
Date: Tue, 5 Jan 1993 19:41:18 GMT

mjenkins@alfred.carleton.ca (Michael Jenkinson) writes:
|
| Oh is THAT why he left the church...? I always wondered about that,
| but never got around to researching it.
| 
| But then again, he wasn't that serious about the church, was he? After
| all, he went on to be a zoologist after music didn't quite pan out for
| him.
| 
He remained deeply involved with the church his entire life, but do to
his affliction, was not encouraged to attend mass. Despite his
infirmity, he memorized all the hymns and sang along with the organ
from outside. Unfortunately this resulted in a few mistaken arrests.

Newsgroups: rec.music.classical
From: pawel@tethys.ph.albany.edu
Subject: Re: Beautiful songs for piano solo !?
Reply-To: pawel@tethys.ph.albany.edu
Organization: SUNYA School of Public Health, Albany, NY
Date: Wed, 6 Jan 93 15:55:56 GMT

In article <1993Jan6.122234.6053@arbi.Informatik.Uni-Oldenburg.DE>, Frank2.Simon@arbi.informatik.uni-oldenburg.de (Frank2 'Biber' Simon) writes:
>Hi,
>
>I hope to are able to contact to other piano-player on this way:
>I want to start a list of the most popular and most beautiful songs
>playable on piano solo.
[...]
>
>So I hope to get more songs for piano, more songs I want to learn and
>more songs I love.

>
>COMPOSER             NAME
>-----------------------------------------------------------------------
>Albeniz, Isaac      | Asturias, Leyenda
>Bach, J.S.          | Praeludium C-DUR (Ave Maria)
>Beethoven, L.v.     | 5th.Symphonie, changed for PIANO solo, OP 67
>Beethoven, L.v.     | Sonate OP 27, No.2 (Moonlight-sonate)
>Brahms, Johannes    | Walzer
>Chopin, Frederic    | Praelidium, OP 28. No.6
>Chopin, Frederic    | Praelidium, OP 28. No.15
>Chopin, Frederic    | Praelidium, OP 28. No.20
>Chopin, Frederic    | Marche funebre, OP 35
>Grieg, Edvard       | To the spring
>Haendel, G.F.       | Sarabande
>Haendel, G.F.       | Largo, of XERXES
>Mendelssohn         | Song without words, Op 19, No.1
>Mozard, Amadeus     | Rondo alla turca
>Rachmaninoff        | Praeludium
>Satie, Erik         | Gnossienne
>Schubert, Franz     | Moment muisical, Op 94 No.2
>Schubert, Franz     | Impromptu, OP 142, No.2
>Schubert, Franz     | Two german dance
>Schumann, Robert    | Romanze, OP 28. No.2

>Mozart, W.A.	    | Sonate KV545 (?) C-dur
>Bach, J.S.	    | Air from Goldberg variations (to be found in Anna M's book)
>Bach, J.S.	    | Two-part invention B-dur
>Beethoven, L.v.    | Variations Nel cor piu non mi sento (theme by Pasisiello)
>                   |
>
>-- 
>FRONT242FRONT242FRONT242FRONT242FRONT242FRONT242FRONT242FRONT242FRONT242FRONT

 There should be more ...

                                               Paul Penczek

Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: There's nothing wrong with Bolero
Organization: University of Western Ontario
Date: Fri, 8 Jan 1993 18:46:55 GMT

Bolero is a tour-de-force of construction and orchestration and well 
worth paying close attention to. The distasteful remarks are due to the 
fact that it has been overplayed in the past and has reached "warhorse" 
status. Musicians (especially those with a musicological bent) have a 
pathological distaste for warhorses. Just ignore them. Listen and enjoy.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Best CD of Mussorgsky "Pictures ..."
Organization: Morgan Stanley & Co., New York, NY
Distribution: na
Date: Wed, 6 Jan 1993 02:45:47 GMT

In article <1993Jan5.215131.2986@bme.ri.ccf.org> christoj@bme.ri.ccf.org (Judy Christopher) writes:
>Please help - I need to get for my husband the absolute best CD of
>Pictures at an Exhibition (Ravel).  What do you recommend?
>
>Ciao, Judy
>
>


My favorite version of the Ravel orchestration of the work is the
recent one on DG performed by the NY Philharmonic and conducted by 
Giuseppi Sinopoli.  Terrific playing, great sound, and a Kiev gate
of truly monumental proportion.

The absolute hands-down best piano version is Sviatoslav Richter's
on Philips.

Buy him both.
From: paul@cgh.cgh.com (Paul Homchick)
Newsgroups: rec.music.classical
Subject: Re: liner notes
Date: 10 Jan 93 01:12:36 GMT
Distribution: rec
Organization: Chimitt Gilman Homchick, Inc.

roger@astro.princeton.edu (Roger Lustig) wrote:
>Oh, c'mon, Paul.  Can't you recognize self-parody when you see it?  
>Calling Total Serialism (which was on the skids in 1953-4 already)
>the high point of Western music is something that can't possibly be 
>taken seriously by anyone, and couldn't even have been taken 
>seriously back then.  Now, given Scelsi's own rather strange history/
>temporal development, the text, hilarious as it is, makes a certain
>sense on some level.  On the other hand, it makes you wonder whether 
>the writer likes the music...
>
>Who wrote that?
>
The recording in question is of Marianne Schroeder playing the "Suites
Nr. 9 and Nr. 10 for Piano" by Scelsi on a Hat Hut CD.

The liner notes are by Heinz-Klaus Metzger, as translated from the
German by Peter Wortsman.

It never crossed my mind that anyone (with the possible exception of
Peter Schickele) would produce liner notes that made fun of the music
on the recording.  However, when viewed from such a perspective, the
notes and the music make a lot more sense than they do when taken
straight. :-) I still have my suspicions tho, that all of this was in
dead earnest.
-- 
Paul Homchick                    :UUCP     {rutgers | uunet} !cbmvax!cgh!paul
Chimitt Gilman Homchick, Inc.    :Internet                       paul@cgh.com
1111 West DeKalb Pike, Suite 101 :MCI                               PHOMCHICK
Wayne, PA  19087-2179            :GEnie                              HOMCHICK
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Tower Records
Date: 7 Jan 1993 15:57:37 GMT
Organization: University of Houston
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu




Greetings...   To all those interested, I *believe* that the Tower Records
sale begins on the 8th and ends on the 12th of this month.  There are 
savings on all discs, but just how much I don't know... 

[usual disclaimers]

Happy shopping,
Bill

+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: greatest conductors: why?
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 4 Jan 93 14:58:18 EST

To: dbarker@spang.Camosun.BC.CA (Deryk Barker)

  >: Mahler First, and on and on....  Someday I hope to indulge myself with
  >: his BSO Mahler Ninth.  I first have to be able to justify owning a third
  >: copy of that work, though.

DB>No justification required. I own 17 versions....{

Now I know why you went into Computer Sciences ... to acquire the skills
to catalogue all that Mahler! <g>

And of all the odd ball coincidences, I was having a musicfest/dinner
with a friend last evening and guess what a friend of his had just
brought up from Buffalo as a season's gift?

That Virtuoso Furtwaengler Beethoven symphony set! Thanks again for your
detailed commentary about this to me a few days back ... made me sound
Data-like in my ability to conjur up so many facts on the spot!

Do you have a favourite three Mahler 9ths in that lot? And ONE in
particular falls especially below grade?

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044