HDTenEightyP/NetNews huggingface dataset:
From: pawel@tethys.ph.albany.edu
Subject: Re: Recordings of S. Richter
Reply-To: pawel@tethys.ph.albany.edu
Organization: SUNYA School of Public Health, Albany, NY
Date: Wed, 2 Sep 92 13:27:24 GMT

In article <1992Sep2.132625.431@cine88.cineca.it>, Marco Simionato <simion@iveuncc.unive.it> writes:
>And now for the records list:
> 
>Bach. Beside the already mentioned Well-Tempered Clavier, I would suggest
>         the Stradivarious STR33323 CD containing: Sonatas BWV 966, 963,
>964;
>         Caprice BWV 993; 4 Duets BWV 802-805; Italian Concerto BWV 971.
>         Also, forthcoming, a Stradivarious CD containing the English
>Suites
>         n. 1 and 3.
>         As some might know, Richter declared he wants to play - perhaps
>         record ? - the whole of Bach's keyboard works. In past years his
>recitals
>         in Italy included many works by Bach. But be ready: his Bach now
>is
>         notably differently played than his Well-Tempered Clavier
>recording.
>         Actually, his whole way of playing has changed is the past few
>years.
> 

  I wouldn't recommend his WTC.  I have many doubts about his reading of
Bach, but I am happy to hear that he changed his attitude.  I would
love to hear his new Bach.  Did he record anything already ?

>Beethoven. Beside his celebrated recording with M. Rostropovic of the
>Cello
>         Sonatas, of the 3rd Concerto and of the Hammerklavier Sonata,
>perhaps
>         his most notable Beethoven performance is the Diabelli
>Variations on
>         Philips. This is an absolute MUST.
> 

  Strangely, you do not mention his early Beethoven's sonatas. His
version is real masterpiece.  I am not sure whether they are available
on CD's - all I have are old Melodya LP's.

                                      Pawel Penczek
Newsgroups: rec.music.classical
From: mikulska@astro.Princeton.EDU (Margaret Mikulska)
Subject: Re: Shostakovich's musical joke
Originator: news@nimaster
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Date: Wed, 2 Sep 1992 01:48:58 GMT

In article <1992Sep1.185025.501@sdi.com> finkel@sdi.com writes:
>In article <1992Aug26.210718.23583@Princeton.EDU>, mikulska@bessel.Princeton.EDU (Margaret Mikulska) writes:
>> In article <chomicki.714861404@antares.cis.ksu.edu.cis.ksu.edu> chomicki@cis.ksu.edu (Jan Chomicki) writes:
>>>
>>>Apparently, Shostakovich set an example of Soviet stalinist music
>>>criticism (dumping on degenerate Western music etc.) to some
>>>deliberately crude but "politically correct" music. The resulting
>>>piece is supposed to be hilarious.
>>>
>> The piece is "Rayok" [...]
>> 
>> Personally, I think this work is a bit heavy-handed.  I wouldn't call it
>> "hilarious".  It does have its amusing moments, but on the whole, I was
>> a bit disappointed.
>
>	 [...]In fact, these "notes" were written by Shostakovich himself.
>	 Also, I think that the lyrics are taken verbatim from
>	 political discussions within the Ministry of Culture (or some
>	 other bureau).

There are _excerpts_ quoted from original speeches and discussions, but
most of the text is parody.  Not that you can tell which is which ...

>	 Perhaps I'm thinking of another Shostakovich contata, but I
>	 believe this is it.  It's worth getting just for the notes.

Yes, this is it.


-Margaret
mikulska@astro.princeton.edu

Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: Cornelius Cardew
Organization: University of Western Australia
Date: Wed, 26 Aug 1992 04:49:42 GMT

dbarker@camins.camosun.bc.ca writes:
: In article <1992Aug25.094755.13880@uniwa.uwa.edu.au>, diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
: > I recall with great glee Ken Russell in his "ABC of British of Music" (a
: > must viewing for all of you) superimposing his image over a Cardew
: > concert, with him joining in the carpet-beating, yawning and saying 
: KR's problem with someone like CC, of course, is that as a human being
: he was just too goddamned *normal*. No sexual deviance, no highly-public
: affairs. How very dull!

The fact that he praised Elgar and Moeran and Brian and Bax and Holst etc.
in the same film surely is counter-evidential?
Newsgroups: rec.music.classical
From: jonesm@nic.cerf.net (Matthew Jones)
Newsgroups: rec.music.classical
Subject: Re: clarinet arcana and transposition
Date: 26 Aug 92 14:54:57 GMT
Organization: CERFnet

In article <1992Aug26.034740.6867@Princeton.EDU> roger@crux.Princeton.EDU writes:

[ Deleted a lot of interesting comments which are not germane to my comment ]

>>Yes, well, perhaps it is a LITTLE more awkward to play accidentals on the
>>clarinet than natural notes.  
>
>A lot more.  Clarinet fingering is based on a diatonic scale; it is the 
>written F scale in the lower register, C in the upper.  Make that G and 
>D on German clarinets.  That is, raising your fingers one at a time gets you
>that scale.  The further you diverge from those base-scales, the harder 
>the fingerings get.

A Clarinet teacher I had in college said that in Stravinsky's
_The History of a Soldier_, a very hard piece (I can't recall if
it requires an A along with the Bflat clarinet), you have to fake
a run or two because the fingering was too difficult for the tem-
po of the piece. He said that Mitchell Lurie had faked it in a
recording of "History" (one the the more fameous recordings at
that time). If my teacher had had time to change to the A clar-
inet at that point he said it would have been easy to make the run 
cleanly.

Matthew Jones
jonesm@cerf.net
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: records-database
In-reply-to: steve@fid.morgan.com's message of Mon, 31 Aug 1992 22:25:10 GMT
Organization: pubs
	<1992Aug31.190143.6161@Princeton.EDU>
	<CB.92Aug31153656@tamarack13.timbuk>
	<1992Aug31.222510.18481@fid.morgan.com>
Date: 1 Sep 92 10:15:28 CDT

Steve Apter writes:

   Now, IF your workstation plays CDs, and IF those CDs had some
   standard way of identifying themselves to the player, THEN ....
   Naahhh.  That would be too easy.

That would indeed be a great capability.  Unfortunately I have a couple
thousand LPs and other media.  Someone mentioned that Schwann should
publish a big list, and I agree.  I imagine a single CD-ROM could hold
just about everything back to the beginning of LPs ( = the beginning of
Schwann).  Then I could just identify the recordings that I have, and
the system would create a subset database representing my collection.
Too bad the *use* of computer technology always lags so far behind the
technology itself.

Chris Brewster
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Schoeck
Originator: news@nimaster
Organization: Princeton University
Date: Tue, 1 Sep 1992 15:20:55 GMT

In article <1992Aug31.193845.21259@CSD-NewsHost.Stanford.EDU> spg@Xenon.Stanford.EDU (Stephen P. Guthrie) writes:
>Anyone heard of the composer Schoeck?

Yes.  

You really *are* doing the Germans and Austrians, aren't you?  Schreker,
Korngold, Schoeck...

What about him?                 

Roger

Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: records-database
Organization: Morgan Stanley & Co., New York, NY
Date: Mon, 31 Aug 1992 22:25:10 GMT

In article <CB.92Aug31153656@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>
>I wrote:
>
>   >...  My main aim for a recordings database would be to
>   >eliminate redundant typing while allowing complete flexibility in
>    ^^^^^^^^^^^^^^^^^^^^^^^^^^
>   >how the data is retrieved.  I think this aim requires a fully relational
>   >database (such as Alpha 4, Personal RBase and not many others).  
>   >In other words I would have separate tables of recordings (by number),
>   >performers, composers, works, etc. ...
>
>Margaret Mikulska) writes:
>
>   I think that it's really an overkill to use a heavy-duty commercial
>   database.  I don't think that data about recordings are complex, and in
>   my greatly biased opinion a flat ascii file plus a few UNIX tools ...
>   The really hard part is typing in the entries.
>   ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
>As I said to Bill P, I think your last sentence (as quoted) argues
>against those preceding.  In a flat file I have to type like this:
>
>  Beethoven  Symphony 5  >  Toscanini  >  NBC Orchestra  >  RCA 1234
>  Beethoven  Symphony 5  >  Toscanini  >  BBC Orchestra  >  EMI 5678
>
>etc.  You have to keep typing the same information over and over.  In
>the above case, you could copy a line and make modifications, but in the
>general case you'd be doing a lot of extra typing.  With a table-based
>system, the table of recording numbers points at items in the other
>tables.  That doesn't mean it's a trivial job, but it has got to be
>better than the flat-file approach.
>
>Chris Brewster
>cb@cray.com

The bullet you've got to bite is initializing the db.  No matter how
you slice it, you're going to require at least 30 seconds per CD
entered.  Not fun.

I maintain that 

	asdfasdfasd/asdfasdfasdf/asdfasdfasdf/asdfasdfasdf

is the easiest way to get this stuff into the machine.  Of course, 
once it's in, you can do what you like with it, including conversion 
to E-Z-Re-lato-matic format.  But there's nothing worse than getting
all that work trapped inside a dbms that's decided to go south on
you.

Now, IF your workstation plays CDs, and IF those CDs had some
standard way of identifying themselves to the player, THEN ....
Naahhh.  That would be too easy.


Newsgroups: rec.music.classical
From: meyer@uuisis.isis.org (Katherine Meyer)
Subject: Re: Nigel Kennedy
Organization: International Shared Information Service (Ottawa)
Date: Mon, 31 Aug 92 02:04:16 GMT

lancer@wpi.WPI.EDU (Stephe Lewis Foskett) writes:
> I just got Nigel Kennedy's Four Seasons and Tchaikovsky & Sibellius Violin
> Concertos, and they are absolutely brilliant.  Can anyone tell me more
> about him or his recordings?  Particularly, how good are his other
> releases?  I hear he has a jazz CD, too...
> 
> Thanks,
> .s.
> --
THe only thing I know is that he seems to be a pretty excuberant performer
(for lack of a better term anyway).  
Nigel Kennedy must be in his early to mid 30's.
He has written his autobiography "Always Playing" Wiedenfeld and Nicolson, 
London (1991).  I just got it and it seems pretty interesting.  I have yet
to see Nigel Kennedy on stage but from what I have heard, from some of
my friends, it should be pretty interesting.  I also have not heard enough
of his playing to be able to make a comment on any of his CDS.

The book includes a discography at the end.  

His Jazz CS is "Nigel Kennedy Plays Jazz" with Peter Pettinger, piano.
Chandos Records Limited, 1984 (formerly released as Strad Jazz).

Apparently there are also Videos of some of his performances: 
1) Vivaldi's Four Seasons and 2) Brahms Violin Concerto
these are also mentioned in the discography of Kennedy's autobiography.

Katherine

MEYER@UUISIS.ISIS.ORG
Newsgroups: rec.music.classical
Subject: proposal to this list
From: Marco Simionato <simion@iveuncc.unive.it>
Date: 3 Sep 92 14:53:26 +0100
Distribution: world
Organization: University of Venezia (Italy)
X-UserAgent: Nuntius v1.1.1d9X-XXDate: Thu, 3 Sep 92 14:56:43 GMTLines: 14

This is a proposal I make, which I hope will meet wide success!
I was thinking that it might be very useful, and interesting, if
people who live in places where there are big musical seasons posted
the programmes for opera houses, music halls and festivals.
This way, people who usually travel to assist to such events would
have an opportunity to schedule their trips, or to know about upcoming
events at all. To this regard, I greatly appreciated the posting of
some days ago listing the next concerts Maestro Celibidache will give.
Shortly, the programmes for the musical season in Venice, Italy (where
I live) will be published, as will the programmes for Milan.
I would like some feedback to this proposal, both to this thread or to
me personally.

Thanks.
Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: clarinet arcana
Organization: University of Western Australia
Date: Wed, 26 Aug 1992 04:10:20 GMT

haynes@cats.ucsc.edu (Jim Haynes) writes:
: I remember someone once had a C saxophone, and I was told the rationale
: for its existence was not the need for an instrument in between the
: alto and tenor saxes, but rather than it could play parts written for
: piano without transposing.

That is true, but then the tenor and alto started out life to read
military parts in bands without transposing.

The c melody does have it's own sound, despite all the comments to the
opposite effect. I have a Conn 1919 C melody, and a high-pitched C
Hawkes and Son (the forerunner of B&H) as well as my tenors and
altos, and I play the conn through choice. 

The Trumbauer/Beiderbecke duets in the 20's were examples of the
individuality of the c melody sound. Electrifying chase sequences, fluid
sound, amazing bends and arps.

Lester Young began with a c melody, but swapped to the Tenor for the 
ease of playing in the bands. But he always said his only inspiration 
was Tram, and for the rest it was him.

He played the tenor like an inspired C melody player (I know this is
more heretical than querying Beethoven or Cage, but there you are...)

Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (stephen smoliar)
Subject: Re: John Cage is Dead
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Wed, 26 Aug 1992 11:52:25 GMT

In article <1992Aug25.144355.19464@menudo.uh.edu> chem91@Jane.UH.EDU writes:
>[stuff deleted]
>In article <1992Aug24.224742.6520@nuscc.nus.sg>, 
>smoliar@argon.iss.nus.sg (stephen smoliar) writes:
>>I find it more than unfortunate that so few recordings of Cardew are
>>available;
>>but I would recommend all that exist (mostly on the Matchless label) without
>>hesitation.  
>-------------------------
>I'm not familiar with this label... Are the recordings:
>* on CD?
>* currently available?
>* just which pieces by Cardew et al. are recorded?
>
Matchless does not seem to have caught up with me in Singapore.  I just hope
they have not folded.  Here is their address (seriously):

	Matchless Recordings
	2 Shetlock's Cottages
	Matching Tye, near Harlow
	Essex  CM17 0QR
	ENGLAND

They recorded a solo piano recital album, including the "Thaelmann Variations."
They also distribute the recording of the memorial concert (May 16, 1982 at
Queen Elizabeth Hall) made by Impetus Records which gives a nice cross-section
of the man's work.  Both of these are vinyl recordings, and I do not know if CD
versions are now available.  I also do not know if any recordings of the
Scratch Orchestra are available.  However, Matchless has a SUPERSESSION
CD of Evan Parker, Keith Rowe, Barry Guy, and Eddie Prevost which is some
indication of where things have gone SINCE the Scratch Orchestra.  (Rowe
and Prevost both performed at the memorial concert.)
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical
Subject: Last post's subject: Place in France, etc.
From: phoogenboom@eagle.wesleyan.edu
Date: 3 Sep 92 22:35:45 EDT
Organization: Wesleyan University

Sorry about that.
Newsgroups: rec.music.classical
From: bryan@netcom.com (Bryan Higgins)
Subject: There's a Place in France
Date: Tue, 01 Sep 92 08:43:13 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

There's a tune to which is often sung the words "there's a place in France
where the ladies wear no pants" etc.  Can anyone identify the origin of the
tune?
-- 
Bryan Higgins, Berkeley, California  (bryan@netcom.com)
Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (stephen smoliar)
Subject: Re: Have you heard the one about...
Reply-To: Smoliar@ISS.nus.sg (Stephen Smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Sat, 29 Aug 1992 00:05:12 GMT


The TRISTAN parody Leon has in mind must be "Souvenirs de Munich:  Fantasie en
Forme de Quadrille sur les themes favoris de TRISTAN ET ISOLDE de Richard
Wagner" (not a circus polka), by Emmanuel Chabrier (posthumously published).
(Leon, if you learn the proper way to post articles--keeping the body out of
the header--it will be easier for us to reply to them.)  The work is a
four-hand piano piece which is lots of fun to play, as is "Souvenirs de
Bayreuth," a collaboration of Gabriel Faure and Andre Messager which gives
the same treatment to the RING.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
From: ccsdgdc@gdr.bath.ac.uk (Douglas Clark)
Newsgroups: rec.music.classical
Subject: Re: Winterreise
Date: 27 Aug 92 09:26:29 GMT
Organization: Bath University Computing Services, UK

In article <1992Aug26.205043.11128@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:
>I've been listening to two versions:  Schreier/Richter on Philips,
>and a newish recording on Channel Classics with Max van Egmond
>(fortepiano) and Jos van Immerseel (baritone).  Both are wonderful.
>
>I'd welcome pointers to other performances, opinions, observations,
>whatever.


I have Fischer-Dieskau accompanied by Gerald Moore and the
interesting Brigitte Fassbaender. The Fischer-Dieskau is a
class above the Fassbaender but she is marvellous live as I
saw at this year's Bath Festival. She projects herself into
the songs using her acting ability and is very memorable.
But on disk her enunciation is inferior to Dietrich's.
-- 
Douglas Clark                                  Voice : +44 225 826039
Regional Services,                       JANET : D.G.D.Clark@uk.ac.bath
Bath University Computing Services, UUCP : ...uunet!mcsun!uknet!gdr!D.G.D.Clark
Bath, Avon, England BA2 7AY    ARPA : D.G.D.Clark%bath.ac.uk@nsfnet-relay.ac.uk
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Music (and flamage) of the Junk Age, cont'd..
Date: 3 Sep 92 19:13:55 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Distribution: rec.music.classical
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Sep2.153709.15319@husc3.harvard.edu> elkies@ramanujan.harvard.edu (Noam Elkies) writes:
}In article <46919@dscatl.UUCP> mgresham@dscatl.UUCP (Mark Gresham) writes:
}>4'33" could be pronounced "four minutes, thirty-three seconds" or
}>could be "four feet, thirty-three inches."  (I doubt he ever
}>suggested 4'33" of arc, though he might have liked that.)
}
}Hm.  A piece of music lasting six feet and nine inches?
}[Heard at a choral rehearsal: "you're an hour flat!" --or was it
}"you're an octave late!"?  I don't remember.]  Well, there *is*
}a canonical way to convert distance to time: divide by the speed
}of light.  I suppose I'd like 4'33" a bit more (or rather dislike
}it a bit less) under this interpretation. ;-)  I don't think there's
}a natural way to convert a dimensionless quantity like 4.55 minutes
}of arc to a length of time, though.

I think there was the same bit of humor intended in Cage's second
pronunciation.  Perhaps it is because as the years passed, he
decided the actual length of the piece wasn't so important; he later
said that by extension, the piece could be any length.  (And
occupies space of any size.)


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
Newsgroups: rec.music.classical
From: sse@breeze.bellcore.com (Samuel S Epstein)
Subject: Re: Funeral music?
Reply-To: sse@breeze.UUCP (Samuel S Epstein)
Organization: Bellcore, Morristown, NJ
Distribution: rec.music.classical
Date: Mon, 31 Aug 92 18:46:06 GMT

In article <JWA.92Aug31194822@vipunen.hut.fi> jwa@vipunen.hut.fi (Jyrki J Wahlstedt) writes:
>  I hope this doesn't sound morbid, but:
>
>  There have been many requests for wedding music. It just came to my
>  mind, that on listening to one piece of music sometimes ago, I
>  caught myself thinking: "This is music I would like them play in
>  my funeral."
>
>  Has anyone else had thoughts of same kind? Please email me your
>  favourites and I post a summary later on. I could use nearly all of
>  Bach, particularly his cantatas, works for solo string (violin, cello),
>  for organ. Some works from other composers also.
>
>  PS. The piece I was listening, if someone wants to know, was the
>      last movement of Mahler's 9th symphony.
>--
>!
>!	Jyrki Wahlstedt
>!		Jyrki.Wahlstedt@hut.fi
>!
>!  Our life is no dream, but it should and will perhaps become one.
>!


I heard a comedy routine a long time ago about varying qualities
of funerals offered at varying costs. The music for the top-of-
the-line funeral was some world famous musician(s) flown in to
play appropriate selections. The cheapest funeral featured the
funeral director's child at the organ, playing the only piece
he/she knew - "Night Train."
From: jseboldt@pnet51.orb.mn.org (John Seboldt)
Newsgroups: rec.music.classical
Subject: Re: studio der fruhen musik
Date: 1 Sep 92 05:25:01 GMT
Organization: People-Net [pnet51], Minneapolis, MN.

SLC@HARVARDA.HARVARD.EDU (Steven Cantor) writes:
>there were a number of recordings made by the group studio der fruhen musik
>(thomas binkley, andrea von ramme, etc.) for the reflexe series (german emi,
>i think) of early music recordings.  i found many of these recordings to be
>quite wonderful and was wondering if anyone knew whether or not any of these
>had been/will be reissued on cd?
>thanks,
>s.
>
>-------------------------------------------------------------------------
>Steven Cantor
>SLC@HARVARDA.HARVARD.EDU

I don't know, but would second the motion to find out.  My only LP of theirs
is a nice Dufay album titled "Adieu m'amour".

I also heard Andrea von Ramm in a workshop at the Univ. of Iowa in mid-80's. 
I kid you not, she is practically a *baritone* in "chest" voice, so when she
sings it is analogous to me (also a baritone) singing countertenor in the head
voice.  Wouldn't have known it until meeting her!

: John Seboldt...Minneapolis, MN...As a ham, K0JD...as a human,       :
: right-brained yet right-handed...as a musician, techie yet creative :
:   UUCP: {crash, tcnet, petrus, quest}!orbit!pnet51!jseboldt         :
:   ARPA: crash!orbit!pnet51!jseboldt@nosc.mil                        :
:   INET: jseboldt@pnet51.orb.mn.org                                  :
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.classical
Subject: Re: clarinet arcana and B pianos
Date: 2 Sep 1992 22:55:41 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

John Thayer Jensen (jt.jensen@aukuni.ac.nz) says:
>Well, to be perfectly accurate, I have a B piano.  At least, approximately
>B.  But this was not intended by its manufacturer.  It's just a means my
>versatile piano tuner uses to prevent breaking strings by cranking it up to
>a full C, or breaking my budget by overhauling it :-)

We can add to the uses of an A clarinet its value in playing
Bb Clarinet and Piano compositions with Mr. Jensen's accompaniament.

--James Langdell         jamesc@eng.sun.com
  Sun Microsystems       Mountain View, Calif.



Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Le Grand Macabre
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 27 Aug 1992 23:46:56 GMT

In article <Btnzo0.28v@news.cso.uiuc.edu> erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:
>Evelyn C. Leeper mentions
>.......
>> Ligeti, G.				"Le Grand Macabre"
>
>Anyone have any opinions on this opera?  A book I recently read called this  
>Ligeti's masterpiece. (Maybe it was David Cope's book.)  Anyone agree?  I like  
>Ligeti, so I've been considering buying a recording of this opera, but opera  
>isn't cheap, so I'd like recommendations.
>
>Ed erwin@lisboa.ks.uiuc.edu

This is a great work.  Wait'll you hear the overture:  Monteverdi transcribed
for automobile horns.  If you don't know it, you might also enjoy Krenek's
_Leap Over the Shadow_, available on cpo.

What book by David Cope?