HDTenEightyP/NetNews huggingface dataset:
From: riggsby@utkvx2.utk.edu (STUART)
Newsgroups: rec.music.classical
Subject: Re: Did Debussy wrote a symphony?
Summary: Looking for Debussy symphony.
Date: 11 Dec 92 17:59:00 GMT
Article-I.D.: utkvx2.11DEC199213593146
Organization: University of Tennessee Computing Center
News-Software: VAX/VMS VNEWS 1.41

In article <1992Dec11.164801.16314@nntpd.lkg.dec.com>, doron@tavdac.ENET.dec.com (Doron Angel) writes...
>I am looking for Symphony in D Min or by Debussy, (NOT the Duet). Does such a 
>symphony exists at all? If yes, is it available on a CD? What is that
>manufactur name & CD's number? Where can it be bought from (Telphone will do).
>Pls reply by Email, since I do not visit this newsgroup that often.
> 
>Thank in advance,
> 
>>-doron->
> 
>********************************************************************************
>|                                                                              |
>| Who am I?............................. Doron Angel                           |
>| Where am I working?................... Digital Equip. Corp. (SSDU) Israel    |
>| What's my phone # ?................... 972-52-593003                         |
>| Where am I living?.................... 25B. Bnei Benjamin St. Herzliya ISRAEL|
>| What's my phone # at home?............ 972-52-504529                         |
>|                                                                              |
>***********************************^^^^^^^^^^***********************************
A local DJ commented the other day that the closest Debussy came to writing a
symphony was La Mer.
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Various _Goetterdaemmerung_s 
Keywords: Janowski, Karajan, Solti
Organization: University of Delaware
Date: Sat, 12 Dec 1992 23:24:08 GMT

In article <1992Dec11.192218.1901@linus.mitre.org> rwilmer@carrier.mitre.org (R. Wilmer) writes:

[in response to my description of the Wotan-Brunnhilde staging of the
funeral march in the Kupfer Goetterdaemmerung]

>I, too, thought that effect was fine and moving.  At Bayreuth, a teenage
>girl (Spanish I think) sitting on my left was overwhelmed,
>sobbing loudly, at that point.  

All the festivalgoers I'd met were talking about that moment after the
show; we all felt it right in the gut.

>I was not, however, impressed later
>in the act by the ending with all the kids watching television to the
>soaring immolation music.  Kupfer may be right that watching television
>is a good symbol of the decline and fall of modern man (our own
>``daemmerung''), but I did not think it was an image that went well with
>Wagner's music.  What did you think, Jon?

I felt that Kupfer's GOETTERDAEMMERUNG was, as a whole, on a lower level
than the rest of his RING in terms of fitting the drama, and this ending
its lowest point.  On the level of wrecking the mood of the final music,
I was annoyed with the German gentleman right behind me who yelled out
"KITSCH!" as soon as the orchestra stopped playing.  But I could not
disagree with his evaluation.

All the more disappointing because I was, for the most part, "with" the
earlier operas in the cycle.  They seemed timeless, human, and intensely
moving.  In the final "quarter," Kupfer started in throwing specific
trendy parallels that weren't in keeping with his earlier conception (I
suppose it was "we see human civilization for the first time, as
Siegfried goes out into the world") and that didn't add much.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: osborne@software.org (Skip Osborne)
Subject: Re: Classical/Opera Laserdiscs?
Reply-To: osborne@software.org (Skip Osborne)
Organization: Software Productivity Consortium
Date: Thu, 17 Dec 1992 19:19:56 GMT

	For sheer video quality, the recent recording of _Flying Dutchman_ 
(Segerstam conducting, on Teldec) is the best  laser disk I've seen yet, in terms of 
clarity, purity or color, and freedom from artifacts...including _Star Wars_ and 
its friends. Additionally, and necessarily, the sonics are superb.

	I was even more delighted just to have a good performance of the lovely fairy 
tale that Wagner wrote, to replace the ghastly "conceptual" bummer on Phillips, 
wherein Senta is a suicidal schizophrenic...8-(.

Skip Osborne
Software Productivity Consortium
Herndon VA 22070

                       Notice 
	Due to budgetary constraints the light at 
	the end of the tunnel is being turned off.

Newsgroups: rec.music.classical
From: coren@speed.osf.org (Robert Coren)
Subject: Re: The BEST finale!
Organization: Open Software Foundation
Date: Thu, 17 Dec 1992 14:52:11 GMT

I was going to stay out of this one, because in general I find
discussions of "*the* best X" tiresome, but seeing so many mentions of
Mahler symphonies makes me wonder why nobody has mentioned the 4th.
You know, like in the cliche, "I thought I had died and gone to
heaven."

:-), sort of -- but I also really love this piece, especially the
final E major section.
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Most drawn-out ending (Was: Best endings)
Date: 19 Dec 92 23:00:54 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]


I'm gonna get flamed for this, but...

Beethoven's 5th Symphony.

Sounds like it's going to wrap up about five different times in the finale.


John
zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: parson_r@cubldr.colorado.edu (Robert Parson)
Newsgroups: rec.music.classical
Subject: Sibelius Codas (Re: The BEST finale!
Date: 19 Dec 92 18:32:39 GMT
Organization: University of Colorado, Boulder

In article <1992Dec19.004741.19803@cs.wayne.edu>, 
atems@igor.physics.wayne.edu (Dale Atems) writes:
> 
> On the mf side:
> 	Sibelius's 4th symphony  :-)*
> 
 Ah, but what an ending it is! Perhaps the bleakest coda in the symphonic
 repertoire - and the movement begins so happily. 

 Sibelius does have some marvelous endings:
 
 2nd and 5th (bombastic mode)
 6th (pacific mode)
 4th (suicidal mode)   :)

 Incidentally, as someone pointed out a few weeks ago the complete set by
 Gibson/ SNO is magnificent.

 Robert
Newsgroups: rec.music.classical,alt.conspiracy
From: pierce@lanai.cs.ucla.edu (Brad Pierce)
Subject: Re: Wagner and Jews?
Organization: UCLA, Computer Science Department
Date: Tue, 15 Dec 92 21:55:08 GMT

In article <1992Dec15.201420.6673@netcom.com> sheaffer@netcom.com (Robert Sheaffer) writes:
>In article <1992Dec8.204850.26779@cs.ucla.edu> pierce@lanai.cs.ucla.edu (Brad Pierce) writes:

>>Consider an analogy. Millions of men are fascinated by misogynist
>>stories and images. (For example, the sexually oriented newsgroups are
>>among the most popular on USENET.)

>I see. "Sexuality" = "misogynist."  Well, now that we know you're
>a member of the sect of Latter Day Puritains, that explains why you fear that
>everything exciting might be "corrupting."

Your equation, not mine. Do you dispute that the sex newsgroups abound
with stories describing and images depicting the degradation, bondage,
or dehumanization of women, or do you dispute that reading such stories
and viewing such images might have deleterious effects? (Or do you
dispute both?)

I most certainly do not consider everything exciting to be
"corrupting". I admit, however, that I don't find hatred, violence, or
cruelty exciting.

Empathy - try it, you might like it.

-- Brad Pierce --
From: lenard@wpi.WPI.EDU (Lenard E Soto)
Newsgroups: rec.music.classical
Subject: Re: **QUICK SINEAD SURVEY PLEASE ANSWER**
Date: 15 Dec 1992 02:29:43 GMT
Organization: Worcester Polytechnic Institute
NNTP-Posting-Host: wpi.wpi.edu

In article <910773f.34.724194025@ace.acadiau.ca> 910773f@ace.acadiau.ca (HEATHER LEE FYFFE) writes:
>In article <1992Dec11.170019.23289@iitmax.iit.edu> boarjas@elof.iit.edu (Jason Boardman) writes:
>>*****  SIMPLE SURVEY -- PLEASE READ *****
>>
>>I have seen much talk about Sinead on the net lately, 
>>and was wondering what the general opinion of Sinead
>>was.  Please take the 20 seconds it takes to reply to
>>this question and answer it.  (A simple Y or N will do).
>>Please use your newsreader's reply option or regular
>>email to submit votes -- do not post your answer.
>>
>>Question:
B>>Do you still support (or have a general good opinon of)
>>Sinead O'Connor?
>
>
>I basically often do not approve of her extremism, although I do agree with 
>many of her basic concepts.
>
>Her music, however, I find absolutely wonderful.
>
>Buz

Does she compose classical music?
if so, i'd like to know.






Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: reply to greatest living
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 15 Dec 92 00:52:13 EST

JJW>  Perhaps among the living ones Richter is the top name, but
   >  how on earth can you have missed Glenn Gould from your list (at
   >  least I couldn't find his name, did I overlook something)?
   >  He is a lot more controversial figure than Richter, but in
   >  many recordings, where the pieces are the same as in some Richter's,
   >  the result is IMHO in Gould's favour. And he died only ten years ago.
   >  He undoubtedly should be in top tier.

We've been Goulded to death around here: I'm a big fan and have been
since I first started listening to records; I collected many while he
was making them. Growing up, I watched the TV programs as a matter of
course and read his ramblings in the local papers (I especially remember
his book review of Payzant's book about Gould's life!).

Trouble is, everyone has suddenly has become a member of his inner
circle. "But my dear, we were SO close!". The radio commentators, in
particular, can really go overboard. Gould was essentially a recluse: an
extraordinary number of people have come out of the woodwork to confirm
this lately! And every one of them "close, dear friends".

Even when controversial, Gould was frequently interesting. And his best
stuff -- including the unsurpassable second Goldberg recording -- will
assure his name lives on probably as long as there are recordings.

Did I mention my own personal Gould story? I served him petrol at two
o'clock in the morning once. I said to him: "You bear an amazing
resemblance to Glenn Gould." He replied: "How extraordinary!" And drove
off, recklessly as usual. And yes, he was wearing gloves. 'Nuff said.

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
Newsgroups: rec.music.classical
From: kldawkin@undergrad.math.waterloo.edu (Kiwi)
Subject: Re: The BEST finale!
Organization: University of Waterloo
Date: Thu, 17 Dec 1992 03:22:48 GMT

In article <1gnii7INNibh@master.cs.rose-hulman.edu> stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
>
>What is YOUR favorite ending or finale to a classical piece?

Oh, come on... if we're talking about finales, it absolutely MUST
be the last scene of Poulenc's "Dialogues des Carmelites". ;-)

But seriously, one of my favourites is the finale to Weber's first
piano sonata. Or Beethoven's Appassionata. I normally can't stand
Brahms, but the finale to his first piano concerto is great.
Recently, though, my favourite is the finale to Alkan's Concerto
for Solo Piano. Wow.

But there are countless others...

Kyle.
   ,------------------------------.,---------------------------------.   \._,
  /   7   ,7  o             o     / kldawkins@cayley.waterloo.edu    /   < /
 /   /--<'   /   /  ,  /   /     / kldawkins@descartes.waterloo.edu /     ' 
/  -'    `--'`--'`-'`-'`--'`-   / kldawkins@napier.waterloo.edu    /    /7 
`------------------------------'`---------------------------------'    //  NZ!
"Don't call me God. Call me Pope so I have something to aspire to."    '
Newsgroups: rec.music.classical
From: abrocke1@cc.swarthmore.edu (Aaron Brockett)
Subject: George Rochberg
Organization: Swarthmore College
Date: Wed, 16 Dec 1992 06:42:34 GMT

I'm interested in people's opinions on George Rochberg--his music, life,
writings, whatever. 

That's all. Thanks.

--Aaron Brockett



Newsgroups: rec.music.classical
From: allyn@milton.u.washington.edu (Allyn Weaks)
Subject: Re: Virgin Classics, R.I.P. (was: Re: Britten: A Midsummer Night's...)
Organization: University of Washington, Seattle
Date: Sun, 20 Dec 1992 09:28:28 GMT

From: conrad@brahms.udel.edu (Jon Conrad)
>So your statement is inaccurate, unless you've heard something more up
>to date than I have.  Certainly EMI *has* been bringing out Virgin
>Classics in the last month, though not the specific things I've been
>looking for.

I certainly hope that I'm wrong, and that the complete dirth of Virgin
Classics in my local Tower is due to either to the renumbering making
things hard to get, Christmas buying sprees, or to Tower incompetence
(though our classical buyer is pretty good on the whole).  In which case I
would happily eat my hat, if I had one...

Allyn Weaks
allyn@milton.u.washington.edu

Newsgroups: rec.music.classical
From: graziano@ravel.udel.edu (Lisa Marie Graziano)
Subject: women composers
Organization: University of Delaware
Distribution: na
Date: Fri, 18 Dec 1992 12:22:01 GMT



Here are just a few women composers:
Francesca Caccinni, early 17th C., composer of operas
Barbara Strozzi, 17th C., composer of contatas and other things

Eleanore of Aquitane- ok, so she wasn't necessarily a composer, but she
was a very important musical figure in the 1100's.

and of course, Fanny Mendelssohn and Clara Schuman.  (Yes, she wrote music
too!).  There are many from the 20th C, already mentioned by others (a few
days ago).  Here's one: Ruth Crawford Seeger.
So, they have existed throughout history.  And I'd like to make just one
point:  it is impressive when someone with a minimum of training
(ie, a woman) can write some pretty good stuff.  Imagine giving Clara
Schuman  1) the training that her husband had; 2) an international
audience that would take her seriously; and 3) the other incentives: having to
earn a living and the potential to influence the developement of Western
music.  She might have been a damn good composer...
Lisa
   
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Lost masterpieces
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Sat, 19 Dec 1992 13:14:27 GMT

In article <8Za1VB1w165w@student.business.uwo.ca> Richard Smith writes:
>In the masterpiece category: Ockeghem's 19-part canon

Do you mean the Deo Gratias?  Has that been established as authentic?

I definitely agree with Jack Campin that the biggest loss is the (apparent)
majority of Ockeghem's output.  And what with the way the record companies
put what recordings are made of the remaining music out of print so quickly,
they are lost masterpieces in more ways than one! 1/2 :-)

T. M. McComb

Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Re: Prokofiev's 5th Symphony
Date: Fri, 11 Dec 1992 23:47:16 GMT
Organization: Colorado State University, Fort Collins, CO  80523

In article <1992Dec11.124241.23104@visual.com> rwh@visual.com (Rob Holzel) writes:
>
>Don Pajerek writes:
>
>
>>All I can say is that if you didn't know what to make of the 5th symphony,
>>numbers 2-4 and 6-7 are REALLY going to puzzle you!
>
>I agree with this assessment, except in the case of the Seventh.  Like
>the 5th, it has a certain, lush appeal.
>
>My guess is that the original poster was captivated by the "big tune"
>aspect of the Fifth.  This is what makes the Third Concerto and Seventh
>Symphony such obvious next steps.  The First Piano Concerto also
>has a big tune, and I think the Second Violin Concerto qualifies as well.
>Romeo and Juliet has some achingly beautiful melody, especially the 
>balcony and love music.  
>
>Prokofiev's "big tunes" have as individual a signature as those of
>Tchaikovsky and Rachmaninoff.  What separates them is the way they "trick"
>the ear -- usually with a surprising quirk in harmony that maybe sounds
>a little odd at first, but ends up utterly seducing the listener.
>
>
>

  Well, being the original poster, I can tell you that it was not the "big
tune" aspect - I am not sure what that means.  It is simply that it sounds
so utterly unlike anything I have ever heard.  I mean, to me, all great 
composers have a unique and instantly recognizable voice, but there is always
some 'blending' - for example, in Shostakovich I pick up a little Mahler
sometimes, a little Vaughn Williams sometimes,  etc... this is not to flame
DS, I love his music...my point is, Prokofiev is really out there in his own
little world, and it is a very bizzare one at that.  I have been listening to
the 5th a lot lately, and every time it is over, I have to go back and listen
to the closing moments - the finale is so strange, every time I hear it I just
cannot believe someone actually sat down and wrote THAT.  It really freaks me
out, and I love it :)

Mike Hurben
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: Schirmer, Chopin, Mikuli, and Horowitz...
Date: Wed, 16 Dec 92 22:06:31 PST
Organization: The Portal System (TM)

   In article <104607@bu.edu> Godfrey Degamo inquires about Chopin
editions and the Horowitz recording of the B Major Nocture, Op. 62,
No. 1.  There are a number of Chopin editions, one of the best being
the Polish Chopin Institute edition (but the volumes are quite
expensive - I have some but not all of the volumes, not really being
able to justify owning all of them).  Schirmer did always have both
the Mikuli and Joseffy editions in its catalog.  I always used the
Mikuli edition because it was reputed to be fairly error-free and
the fingerings are quite good, in my experience.  I haven't tried to
use the Joseffy edition, but I have read that it has a lot of bizarre
fingerings.  I think the Peters and Kalmus editions are good, as was
the Breitkopf and Hartel, of which Liszt was one of the editors.  There
can be a lot of difference in editions of a composer's works, depending
on the editor involved, not so much in the notes (though there are some
vvariations and errors there too), as in the fingerings, pedal markings
expression and phrasing suggestions, etc.  Some editors went a little
overboard and did some rewriting of the works.  You would not want to
use the von Bulow edition of Beethoven sonatas, for example, as it is
over-edited and sometimes quite misleading.
   As for the Horowitz recording of Op. 62, No. 1, I just listened to
my copy and it doesn't sound like he is adding anything in those measures.
It is, partly at least, due to several suspensions, a three-part texture
there.  I don't think he changed much in Chopin (maybe adding some octaves
in the last few measures of the G Minor Ballada, or something like that),
though he did like to amplify Liszt, as in his recordings of some of the
Hungarian Rhapsodies (probably Liszt himself did too).

    Bill Pearce
Newsgroups: rec.music.classical
From: HDW@UCSVAX.UCS.UMASS.EDU (H D WALDEN)
Subject: Re: ?:Dvorak's use of PENTATONIC scale?
Organization: UNIVERSITY OF MASSACHUSETTS - AMHERST
Date: Tue, 15 Dec 1992 04:04:31 GMT
X-News-Reader: VMS NEWS 1.24

In <1git94INNnae@cat.cis.Brown.EDU> ST801578@brownvm.brown.edu writes:

> I was just listening to Dvorak's "American" String Quartet.  I noticed that
> among this and several other of his works, Dvorak loves to throw in melodies
> based on the pentatonic scale.  I don't know too much about Dvorak and was
> wondering if the pentatonic scale was a scale he used a lot.  Where did
>  he get his obsession with this scale if it is used a lot?  Correct me
> if I'm wrong, this scale gives music a oriental like quality.  Hmm..
> that raises another question, is oriental music really pentatonic?  Has
> it really been based on that scale?  Thanks in advance for taking the
> time to read this and perhaps to fill in the many gaps in my knowledge
> about music.


	Dvorak also uses the pentatonic scale in the second movement of the 
New World Symphony--the English horn solo is all pentatonic.

-dave

Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Requia
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 15 Dec 1992 21:40:58 GMT

In article <1992Dec15.064014.3879@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1992Dec14.215344.8507@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>>cb@tamarack13.timbuk (Chris Brewster) writes:
>
>>: I didn't study Latin but my wife did.  We agreed that more than one
>>: kleenex would be several kleenices, and she informed me that more than
>>: one thermos would be several thermores.  I want to get these things
>>: right.
>
>>Naaaaah, more than one thermos would be thermoi - it's Greek not
>>Latin. (The th and os are giveaways).
>
>It could easily be a Latin loanword from Greek.
>
>>One the same grounds the plural of octopus would be????
>
>Octopodes, octopi, or octopus (long U).  Depends on what happened to
>the word, and where and when it was being used.  Octopuses is fine
>too.
>
>My two cats, Banjo and Harmonica, would like you to know that, collectively,
>they are an octopus(s).


Mine can't count either.  Having two legs in back and forelegs in front makes
a total of ...


>
>Roger
>>
>>--
>>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>>Email: (dbarker@spang.camosun.bc.ca)
>>Phone: +1 604 370 4452







Newsgroups: rec.music.classical,alt.flame
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Did Debussy wrote a symphony?
Date: 16 Dec 1992 00:55:45 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Doron Angel (doron@tavdac.ENET.dec.com) wrote:
: I am looking for Symphony in D Min or by Debussy, (NOT the Duet). Does such a 
: symphony exists at all? If yes, is it available on a CD? What is that
: manufactur name & CD's number? Where can it be bought from (Telphone will do).
: Pls reply by Email, since I do not visit this newsgroup that often.

This piece appears to be due for release by Schwann Koch, but I have no
details. 
Newsgroups: rec.music.classical
From: elltankw@nuscc.nus.sg (Tan Kok Wan Peter (Dr))
Subject: Elgar's *Falstaff*, Shostakovich's *Hamlet*
Organization: National University of Singapore
X-Newsreader: Tin 1.1 PL4
Date: Mon, 14 Dec 1992 05:13:32 GMT


                                    Singapore, 14.xii.92
I'm interested in garnering public opinion on these two pieces: Elgar's
*Falstaff* (Op. 68), and Shostakovich's *Hamlet Suite* (Op. 116a), for a
talk on the treatment of Shakespearian characters in music.  I'm
interested in the inter-penetration between literature and drama and the
stage and the film medium and, of course, music.
     The Elgar is loosely based on both parts of *Henry IV* and was first
performed in 1913.  The Shostakovich suite is actually based on film music
which he composed for the 1964 Russian version of *Hamlet* by Kozintsev.
     Any honest, informed or uninformed, views, hunches, prejudices, etc.
on them would be much appreciated.  Thanks a lot.
     (Either post to this group, or e-mail to me at elltankw@nuscc.nus.sg.)
                                               Peter
Newsgroups: rec.music.classical
From: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Subject: Re: Marriage of Figaro
Reply-To: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Organization: Columbia University
Date: Mon, 14 Dec 1992 23:51:36 GMT


In article <Bz9Cw8.71M@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <1992Dec14.153001.19177@news.columbia.edu> nsh3@cunixf.cc.columbia.edu (Nadine S Harris) writes:
>
>>...I always loved the very stylish version
>>conducted by Josef Krips with the Dresden Opera forces.  
>
>Me too, but the conductor was Otmar Suitner.

Damn! Krips was the Entfuehring aus dem Serail, right?

Nadine


Newsgroups: rec.music.classical