HDTenEightyP/NetNews huggingface dataset:
From: Veeramany.Sthanumurthy@lambada.oit.unc.edu
Newsgroups: rec.music.indian.classical
Subject: Some questions (was:MDR)
Date: 19 Aug 1992 12:24:43 -0500
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

 I posted this to SCI by mistake.

 Newsgroups: rec.music.indian.classical
 In-Reply-To: <MANI.92Aug18171806@aix.Berkeley.EDU>
 References: <1992Aug18.173706.24072@cbnewsk.cb.att.com>
 
 In article <MANI.92Aug18171806@aix.Berkeley.EDU> Mani Varadarajan writes:
 >
 >Ravi Ramaswamy wrote in a previous article about MDR singing
 >elaborate niraval and swaram to Endaro Mahaanubaavulu.
 > 
 >>      I was under the impression that one is "not supposed to" indulge in
 >>   improvs while singing Pancharatna krithis. Indeed, I have not heard
anyone 
 >
 >I've heard about the same "rule" too.  However, we should note
 >that MDR wasn't one to stick to tradition when it came to
 >things like this, and he seemed to be more interested in the
 >
 >>      As an aside, musicians seem to prefer Arabhi and Sree and occasionally
 >>   Natai. I cannot recall the last time Gowla or Varali was sung in a concert.
 >
 >I have heard of a recording by the Alathur Brothers which had a
 >rendering of the GouLa Kriti ("duDDuku gaLa"), but am I the
 >only one who thinks that the SrIrAgam and Arabhi ones are far
 >superior? I'm not particularly fond of GouLa itself as a raga;
 
 Is GouLa a single raaga? Then what are Reeti GouLa and maayamaaLavaguLa (sp?)
 
 I like Reeti GouLa a lot - one song that comes to my mind is
 Nannu vidachi (sung by M Santhana when he was here in DC a couple
 of years ago.) 
 
 And I don't understand superiority as such. Could you explain?
 (Please add some lay terms, if you could) Feel free to email if this is a
 rehash.
 
 >Anyway, why do you think Tyagaraja chose these ragas in the
 >first place? Save VarALi, they aren't especially heavy ragas.
 >It would be interesting to surmise as to how these five ragas
 >got elevated to such a high stature
 
 Any answes ..?
 
 One more question, which might belong in a different newsgroup:
 
 In the song
     enakkum/unakkum isainda poruttham (In atANa)
 
  what is correct: "vaLLAl unnai pAdap pAda vAi maNakkudE ...
                OR "paLLAl unnai pAdap pAda vAi maNakkudE ... ?
 
 And, lastly:
 Who wrote this and whom is it addressed to (specifically)?
 
 (A partial translation: What a match - between you and I
  when I sing (you or you using a song - depending on the words)
  about you a fragrance emanates from me (apologize for this atrocity)
 
 Sthan.
 > >Mani
 
 PS. If it is vaLLAl - what does this mean? vaLLal (generous donor?)
From: vinchhi@eng.umd.edu (Chetan K. Vinchhi)
Newsgroups: rec.music.indian.classical
Subject: Re: Lyrics for VAISHNAVA JANATO
Date: 17 Aug 92 18:02:20 GMT
Distribution: usa
Organization: College of Engineering, University of Maryland, College Park
Originator: vinchhi@dale.eng.umd.edu


In article <1992Aug17.010345.1448@murdoch.acc.Virginia.EDU>, svg4j@kelvin.seas.Virginia.EDU (Sri Gopalakrishna) writes:
>
>
>Can you post the meaning of the lyrics - I have for long wanted to know
>the meaning .....
>
>Thanks for the words anyway.
>
>

	Let me try to translate the lyrics. The translation is not literal in some
	places. I have tried to interpret the lyrics instead. Any modifications/
	additions/corrections are most welcome.


>	Vaishnav jan to tene kahiye je
>	PeeD paraayi jaaNe re
	 He who knows the troubles of others is a true "Vaishnav" (by which
        the poet implies the perfect human being...)
>	Par-dukhkhe upkaar kare toye
>	Man abhimaan na aaNe re
	He brings happiness to others but still does neither feels proud about
	it nor needs to be thanked
>	Vaishnav...
	
-----------------------------------------------------------------------------
	
>	SakaL lok maan sahune vande
	He worships everybody in the world.
>	Nindaa na kare keni re
	He does not criticize anybody.
>	Vaach kaachh man nishchaL raakhe
>	Dhan-dhan janani teni re
	His mother is indeed great who keeps his mind and his tongue 
	under control. 
>	Vaishnav...

-----------------------------------------------------------------------------

>	Sam-drishti ne trishna tyaagi
	He is fair to one and all. He does not covet anything.
>	Par-stree jene maat re
	Another man's wife is like his mother to him.
>	Jivha thaki asatya na bole
	No falsehood escapes his tongue.
>	Par-dhan nav jhaalee haath re
	He does not touch another's  gold.
>	Vaishnav...

-----------------------------------------------------------------------------



>	Moh-maaya vyaape nahi jene
	He is not affected by attraction to earthly goods.
>	DriDh vairaagya jena man maan re
	His is a firm ascetic by mind.
>	Ram naam shoon taaLi laagi
>	SakaL tirath tena tan maan re
	All the holy pilgrimages are in his body.
>	Vaishnav...

-----------------------------------------------------------------------------

>	VaN-lobhi ne kapaT-rahit chhe
	He is not greedy. He is devoid of any trickery.
>	Kaam-krodh nivaarya re
	He has conquered lust and anger. 
>	BhaNe Narsaiyyo tenun darshan karta
	Narsaiyyo (the poet Narsimh Mehta) sings that just seeing him
>	KuL ekoter taarya re
	delivers 71 generations from the cycle of life and death.
>	Vaishnav...

-----------------------------------------------------------------------------
-----------------------------------------------------------------------------


	Hope that helps.

	Ciao.
	Chetan
Newsgroups: rec.music.indian.classical
From: svg4j@kelvin.seas.Virginia.EDU (Sri Gopalakrishna)
Subject: Re: Lyrics for VAISHNAVA JANATO
Reply-To: svg4j@kelvin.seas.Virginia.EDU (Sri Gopalakrishna)
Organization: University of Virginia
Distribution: usa
Date: Mon, 17 Aug 1992 01:03:45 GMT

|> >
|> 
|>    Here goes.....
|> 
|> 
|> 	Vaishnav jan to tene kahiye je
|> 	PeeD paraayi jaaNe re
|> 	Par-dukhkhe upkaar kare toye
|> 	Man abhimaan na aaNe re

|> 	Ciao.
|> 	Chetan



Can you post the meaning of the lyrics - I have for long wanted to know
the meaning .....

Thanks for the words anyway.

Sri Gopalakrishna
Newsgroups: uw.general,rec.music.indian.classical
From: kulki@cs.toronto.edu (Dattatraya Kulkarni)
Subject: Re: Female wanted 
Organization: Department of Computer Science, University of Toronto
Distribution: seattle
Date: 20 Aug 92 20:13:52 GMT

xylorg@milton.u.washington.edu (XyLoRg) writes:

<< whatever >>

I wonder what has this got to do with RMIC. Please stop this.

-- A pained serious reader
Newsgroups: rec.music.indian.classical
From: kulki@cs.toronto.edu (Dattatraya Kulkarni)
Subject: Re: Kirana vocal style
Organization: Department of Computer Science, University of Toronto
Distribution: worldwide
Date: 18 Aug 92 02:39:00 GMT

sguha@phoenix.Princeton.EDU (Saumyen Guha) writes:

>In article <92Aug17.122828edt.48006@neat.cs.toronto.edu> kulki@cs.toronto.edu (Dattatraya Kulkarni) writes:
>>dvf@kepler.unh.edu (David V Feldman) writes:
>>
>>>Who are the exponents of this style, besides Pran Nath, who is
>>>famous in the United States for his association with LaMonte Young?
>>
>><<deleted some of it>>
>>
>>>Thanks,
>>>David FeldmaN
>>
>>I could be mistaken, but isn't Pt. Bhimsen Joshi from Kirana Gharana?
> 
>Yes, he is. IMHO, presntly his style differs from that because of his
>originality.
>Others of note:
>Gangubhai Hangal
>Prabha Atre
>Jitendra Abhiseki
>Hirabai Barodekar
>Rasiklal Andharia

>Little less known and old or late:
>Swai Gandharva
>Saraswati Rane
>Basavaraj Rajguru
>Phiroz Dastur


>>
>>--kulkarni
>>  univ of toronto

>-Saumyen

Add to it, Madhav Gudi, a desciple of Pt. Bhimsen Joshi.

--kulkarni
Newsgroups: rec.music.indian.classical
From: sguha@phoenix.Princeton.EDU (Saumyen Guha)
Subject: Re: Kirana vocal style
Originator: news@nimaster
Organization: Princeton University
Distribution: worldwide
Date: Mon, 17 Aug 1992 18:43:06 GMT

In article <92Aug17.122828edt.48006@neat.cs.toronto.edu> kulki@cs.toronto.edu (Dattatraya Kulkarni) writes:
>dvf@kepler.unh.edu (David V Feldman) writes:
>
>>Who are the exponents of this style, besides Pran Nath, who is
>>famous in the United States for his association with LaMonte Young?
>
><<deleted some of it>>
>
>>Thanks,
>>David FeldmaN
>
>I could be mistaken, but isn't Pt. Bhimsen Joshi from Kirana Gharana?
 
Yes, he is. IMHO, presntly his style differs from that because of his
originality.
Others of note:
Gangubhai Hangal
Prabha Atre
Jitendra Abhiseki
Hirabai Barodekar
Rasiklal Andharia

Little less known and old or late:
Swai Gandharva
Saraswati Rane
Basavaraj Rajguru
Phiroz Dastur


>
>--kulkarni
>  univ of toronto

-Saumyen

PS.:  Are not Veena Sahasrabuddhe, Madhup Mudgal and Roshan Ara Begum
(pakistan) from this gharana?

PPS: Anybody know why there are so few vocalist in the east(so many
instrumentalist) and so few instrumentalist (so many vocalist) in the
west? (east and west of India).


Newsgroups: rec.music.indian.classical
From: vinchhi@eng.umd.edu (Chetan K. Vinchhi)
Subject: Re: Lyrics for VAISHNAVA JANATO
Date: Fri, 14 Aug 92 13:36:43 GMT
Organization: College of Engineering, University of Maryland, College Park
Distribution: usa
Originator: vinchhi@coke.eng.umd.edu


In article <1992Aug13.165939.27801@ennews.eas.asu.edu>, kris@cimnext2.cim.eas.asu.edu (Kris Kamisetty) writes:
>Hello all,
>
>I absolutely love the bhajan "Vaishnava Janato".  I have heard bits and pieces
>of the renderings of MS Subbulakshmi and Lata Mangeshkar.  The lyrics I have
>don't seem right. Does anyone know the lyric? Thanks a lot.
>

   Here goes.....


	Vaishnav jan to tene kahiye je
	PeeD paraayi jaaNe re
	Par-dukhkhe upkaar kare toye
	Man abhimaan na aaNe re
	Vaishnav...
	
	SakaL lok maan sahune vande
	Nindaa na kare keni re
	Vaach kaachh man nishchaL raakhe
	Dhan-dhan janani teni re
	^^^^^^^^^
	(Corruption of dhanya-dhanya)
	Vaishnav...

	Sam-drishti ne trishna tyaagi
	Par-stree jene maat re
	Jivha thaki asatya na bole
	Par-dhan nav jhaalee haath re
	Vaishnav...

	Moh-maaya vyaape nahi jene
	DriDh vairaagya jena man maan re
	Ram naam shoon taaLi laagi
	SakaL tirath tena tan maan re
	Vaishnav...

	VaN-lobhi ne kapaT-rahit chhe
	Kaam-krodh nivaarya re
	BhaNe Narsaiyyo tenun darshan karta
	KuL ekoter taarya re
	Vaishnav...

>--
>Krishna Kamisetty,CIM Systems Research |||| kris@cimnext.cim.eas.asu.edu
>+RECYCLE & Make a Difference - Better yet, REFUSE, REDUCE or REUSE+


	Ciao.
	Chetan
Newsgroups: rec.music.indian.classical
From: kulki@cs.toronto.edu (Dattatraya Kulkarni)
Subject: Re: Kirana vocal style
Organization: Department of Computer Science, University of Toronto
Distribution: worldwide
Date: 17 Aug 92 16:28:38 GMT

dvf@kepler.unh.edu (David V Feldman) writes:

>Who are the exponents of this style, besides Pran Nath, who is
>famous in the United States for his association with LaMonte Young?

<<deleted some of it>>

>Thanks,
>David FeldmaN

I could be mistaken, but isn't Pt. Bhimsen Joshi from Kirana Gharana?

--kulkarni
  univ of toronto
Newsgroups: rec.music.indian.classical
From: rjn@cbnewsi.cb.att.com (rekha.joish)
Subject: A perspective on devotion in Carnatic music
Organization: AT&T
Distribution: na
Date: Wed, 12 Aug 1992 13:47:58 GMT
Keywords: bhakti era, mood of the country, devotion


The time at which Carnatic music originated may also
explain the devotional emphasis. This period was at
the heels of the 'bhakti' era in Indian history. 
North India saw several saints at this time - Tulsidas, Surdas,
Kabir, Meerabai etc. South India saw Ramanuja, Madhwachar,
Raghavendraswamy and  of course the 'trinity'. 

Aurangazeb's ban on music plus the subsequent
deterioration of the Mughal empire (wherein sringar
ras was more dominant than ever) and the British
influence spreading simultaneously would have caused a general sense
of low morale. Typically such conditions have always
moved people to turn to devotion/revolution. 

The absence of a large empire in the south (like
the Mughal empire in the north) also meant that
no king was rich or stable enough to patronize
this music. In any case 'court' patronage generally
involved sringar ras (the literature and harems 
are witness to the tastes of kings). So the
next available platform for mass-scale patronage
would be the temple, wherein devotion is the main theme.

Subsequently the music was patronized by orthodox
brahmins (could be temple influence) for whom shringar
ras would be taboo. It is only in recent times that
composers are experimenting with folk and non-devotional themes.

Just my 0.002 cents worth.

Rekha
Newsgroups: rec.music.indian.classical
From: rajiv@me.uta.edu (Rajiv Chakravarti)
Subject: Help needed with confusion
Organization: none
MessageID: <RAJIV.92Aug20122946@me.uta.edu>
NntpPostingHost: me.uta.edu
Date: Thu, 20 Aug 1992 18:29:46 GMT
Distribution: rec
X-Bytes: 906

Hello, 

	I would appreciate some help with the confusion I've been 
having in classifying the following raagas in Hindustani music. 
	
	1. Pooriya
	2. Poorvi
	3. Pooriyakalyaan
	4. Poorvikalyan
	5. Pooriyadhanashri

	I am able to identify all these when being played or sung, but
when asked about the aaroh/avroh and chalan, I very often get confused in 
the process..... I would appreciate if some one could help me with the
aaroh/avroh and a brief chalan (typical phrases) of all the 5 raagas.

	Also, would the mixtures (3 & 4  above) also be considered to be of
the Maarwaa Thaat ????

Thanks in advance,
Rajiv

=====================================================================
Rajiv Chakravarti
Dept. of Aerospace Engineering
University of Texas at Arlington

rajiv@utacfd.uta.edu                             rajiv@me.uta.edu
=====================================================================
From: appa@cbnewsk.cb.att.com (ravi.ramaswamy)
Newsgroups: rec.music.indian.classical
Subject: MDR
Date: 18 Aug 92 17:37:06 GMT
Organization: AT&T

Folks,

   I was listening to (yet another version) Entharo Mahanubhavulu by MDR
yesterday and, to my great surprise, what followed was an elaborate Niraval,
Swaram and Thani. The Niraval sequence was the phrase "RAma Bhakthudainya
Thyagaraja ..." at the tail end of the krithi. As one would expect from
MDR, it is absolutely wonderful. One rarely gets to hear Sree ragam 
elaborated on (exception: Karunai CheivAn EnthuThAmasam Krishna by KVN).

   I was under the impression that one is "not supposed to" indulge in
improvs while singing Pancharatna krithis. Indeed, I have not heard anyone
else attempting it. My personal opinion is that it is OK provided the full 
krithi is rendered first. Has this been discussed before?
  
   As an aside, musicians seem to prefer Arabhi and Sree and occasionally
Natai. I cannot recall the last time Gowla or Varali was sung in a concert.

   
Ravi.
Newsgroups: rec.music.indian.classical
From: R2HMV@VM1.CC.UAKRON.EDU
Subject: Re: Re: Re: Female wanted - STOP THIS B.S. !!!!!
Organization: The University of Akron
Date: Fri, 21 Aug 1992 16:06:52 GMT

I think it is about time you guys stopped this NONSENSE.
 
The discussion is totally out of place and context.
 
Hari
Newsgroups: rec.music.indian.classical
From: kris@cimnext2.cim.eas.asu.edu (Kris Kamisetty)
Subject: Lyrics for VAISHNAVA JANATO
Reply-To: kris@cimnext2.cim.eas.asu.edu
Organization: Arizona State University
Distribution: usa
Date: Thu, 13 Aug 1992 16:59:39 GMT

Hello all,

I absolutely love the bhajan "Vaishnava Janato".  I have heard bits and pieces
of the renderings of MS Subbulakshmi and Lata Mangeshkar.  The lyrics I have
don't seem right. Does anyone know the lyric? Thanks a lot.


--
Krishna Kamisetty,CIM Systems Research |||| kris@cimnext.cim.eas.asu.edu
+RECYCLE & Make a Difference - Better yet, REFUSE, REDUCE or REUSE+
Newsgroups: rec.music.indian.classical
From: thssrkr@iitmax.iit.edu (Raghunath K Rao)
Subject: Pancharathna Krithis (was Re: Some questions (was:MDR))
Organization: Illinois Institute of Technology
Date: Thu, 20 Aug 92 04:26:13 GMT

Speaking of Pancharathna krithis, has no one heard Bala Murali's rendition
of Dudukugala?

Raghu

Newsgroups: rec.music.indian.classical
From: junw@leland.Stanford.EDU (wang)
Subject: test
Organization: DSG, Stanford University, CA 94305, USA
Distribution: ba
Date: Wed, 12 Aug 92 18:06:19 GMT

test, ignore it!
Newsgroups: rec.music.indian.classical
From: balarama@cae.wisc.edu (Prabhu Balaraman)
Newsgroups: rec.music.indian.classical
Subject: SCI Cultural Volume -3: Call for contributions ..
Date: 18 Aug 92 18:31:22 GMT
Organization: U of Wisconsin-Madison College of Engineering


                                Yes, we mean it!!

                 CULTURAL VOLUME -3: CALL FOR CONTRIBUTIONS !!!

     Hello All!

       We are a bunch of net.culture.enthusiasts who would like to
       keep alive a fine tradition initiated by Dr C.P.Ravikumar,
       that of collating and editing a "SCI Cultural Volume". Dr C.P.R
       coaxed and cajoled our very own net.writers, both closet
       and confirmed, into contributing some very good literary
       and cultural articles for the first two Cultural Volumes,
       and we humbly attempt to do the same for "Cul Vol 3". So,
       friends, heed this call, let your creative talents loose,
       and help show the world what we've got!

     Looking forward to hearing from you. Please send e-mail

     Prabhu Balaraman (balarama@cae.wisc.edu)
     Ajay Divakaran   (divaka@rpi.edu)
     Plus an anonymous net.culture.enthusiast!
  --------------------------------------------------------------     
Newsgroups: rec.music.indian.classical
From: dvf@kepler.unh.edu (David V Feldman)
Subject: Kirana vocal style
Organization: University of New Hampshire  -  Durham, NH
Distribution: worldwide
Date: Mon, 17 Aug 1992 06:55:37 GMT

Who are the exponents of this style, besides Pran Nath, who is
famous in the United States for his association with LaMonte Young?

How does this style relate to other Indian traditions?  

Is there a closely related instrumental music?

I am also interested in hearing opinions of Pran Nath's music in
particular.

Thanks,
David FeldmaN
From: akumar@pollux.usc.edu (Anant Kumar)
Newsgroups: rec.music.indian.classical
Subject: SPIC-MACAY:SANJUKTA PANIGRAHI (ODISSI):AUG 19:FREE
Date: 12 Aug 1992 15:27:48 -0700
Organization: University of Southern California, Los Angeles, CA
Distribution: ca
NNTP-Posting-Host: pollux.usc.edu


  Society for Promotion of Indian Classical Music And Culture Amongst Youth
                                (SPIC-MACAY)

                                 presents

                   An evening (Lecture-Demonstration) with

           	 One of the foremost Indian Classical Dancers
			  The Great Odissi Exponent


                             SANJUKTA PANIGRAHI



                        Wednesday Aug. 19, 1992, 7:30 pm.
			
 		       Titan pavilion A, University Center
			  California State University
                                   Fullerton

			**ALSO AT:
			  Peterson Hall, Room 103
			  UC, SAN DIEGO. August 20th, 7:30 pm.
			  Call (619) 291 9377 for more Info.
			**

                        ADMISSION FREE AND OPEN TO ALL.
	     (First Come First Served, limited by hall capacity)

		For CARPOOL and other info, contact:
                           USC, Los Angeles (213) 748-6353 (Kartik)
                           UC, Irvine       (714) 856-3589 (Sanjiv)
                           UC, Los Angeles  (310) 312-1644 (Munira)
			   CSU, Fullerton   (714) 992-5875 (Subha)

                or e-mail: ananthan@usc.edu   (Kartik)

Lecture-Demonstration: 
---------------------
The artist explains the art form and its intricacies. She illustrates
her explanations with demonstrations of each action (mudra) even as she
talks.

The audience will be sitting on the floor, close to the artist. It might be
a good idea to get your own cushions.

Directions and Parking:
----------------------
From 91 Freeway
Take 57 N. (Pomona), Exit Nutwood Avenue. Take left at exit (lights)
right on State College Blvd.
First Right on Dorothy Lane
Immediate Left and go on to Parking Lots A & B.

parking Fee is $2 per car.

---
from 60 Freeway.
Take 57 South, Exit Nutwood. Right at exit and follow above directions.
--------------------------------------------------------
From: l_n_@ducvax.auburn.edu (N.Lakshminarayanan,Auburn Univ. AL36849)
Newsgroups: rec.music.indian.classical
Subject: Gana ragas (was MDR)
Date: 19 Aug 92 17:13:24 GMT

In article <MANI.92Aug18171806@aix.Berkeley.EDU>, mani@aix.Berkeley.EDU (Mani Varadarajan) writes:
> 
> I have heard of a recording by the Alathur Brothers which had a
> rendering of the GouLa Kriti ("duDDuku gaLa"), but am I the
> only one who thinks that the SrIrAgam and Arabhi ones are far
> superior? I'm not particularly fond of GouLa itself as a raga;
> VarALi is too long for a concert, (as I thought "JagadAnanda
> kAraka" was too, but apparently people sing it).
> 
> Anyway, why do you think Tyagaraja chose these ragas in the
> first place? Save VarALi, they aren't especially heavy ragas.
> It would be interesting to surmise as to how these five ragas
> got elevated to such a high stature.
> 
> Mani

	I think the gana ragas have a special place because of a certain 
austere beauty without the 'indulgence' of say,  a sankarabaranam or kalyani--
nothing undesirable about that, only the gana ragas seem to be on a higher 
plane.
	I particularly think varali and gowla have that austere beauty. 
However the beauty does not seem to be reflected in the renditions of (the time
bound form of) compositions if they are not prefaced by a great alapanam--
specifically, I find the yearly renditions of pancharatnams hardly worth 
listening to -- incidentally how did that tradition come into being, I wonder? 

Ln
Newsgroups: rec.music.classical
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Re: Glass' music performances
Organization: University of Illinois at Urbana
Date: Fri, 21 Aug 1992 22:12:53 GMT

Jason E Frank writes
> Louis van Dompselaar writes:
> >Can anyone tell me about performances of new Philip Glass material

> His latest opera, "The Voyage", a collaboration with David Henry
> Hwang to commemorate the 500th anniversary of Columbus' exploits,
> will be premiered by the Metropolitan Opera (N.Y.C.), who also
> commissioned it, this October.  (b.t.w., does anyone out there
> have any further info about this work?)

The first performances will be October 12th and 31st.

Ed erwin@lisboa.ks.uiuc.edu
Newsgroups: rec.music.classical
From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Subject: Re: Leroy Anderson's good kitsch - CD review
Organization: University of Rochester (Rochester, NY)
Date: Tue, 18 Aug 92 00:31:54 GMT

Sorry, I realized that I'd screwed up the title of "The Trumpeter's Lullbye"
after I posted the article.  The first paragraph also might have been
missing.  If anyone wants this, I'll email it to them.

Amazing, if you want to be noticed -- goof something up!  :-)

--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).
From: henning@acsu.buffalo.edu (Karl spot Henning)
Newsgroups: rec.music.classical
Subject: Bach in the [former] USSR
Date: 19 Aug 92 23:14:51 GMT
Article-I.D.: acsu.Bt978s.6K1
Organization: UB

Farewell, ye fellow rec.music.classical denizens;  I'm off to teach
English to Estonian high school students (who seem eager that a
native speaker should do so).  Particular thanks and good wishes
to John, Roger, Steve, Mark, Chris & Vance.  I have no confidence
that UB will not vaporize my account by the time I return (although
I have not quite yet officially completed my PhD), so lemme say,
rather than arrividerci,

ciao,
kph
aka Karl Phillip Emmanuel Prescott Rosicrucian Mudpuppy Henning

ps/ a percussion piece of mine seems set to appear on a
compact disc this coming spring ... I may not be back by
the time it comes out.

pps/ the snailmail address below will remain in effect
while I am abroad ... should you need (or desire) to drop
a line, drop it there, and it shall find me.
-- 
My answers are rumored to reflect my own highly personal  []  Karl Prescott Hen
assortment of loosely organized interests, and may prove  []  57 Glasgow st /ni
 entirely unsuitable for YOU;  but what did you expect?   []  Roch NY 14608 /ng
Newsgroups: rec.music.classical,comp.music