HDTenEightyP/NetNews huggingface dataset:
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Re: Ein Deutsches Requiem (was Re: Christa Ludwig)
Organization: Dept. of Mathematics, U. of Chicago
Date: Thu, 23 Jul 1992 00:20:21 GMT

Speaking of Gardiner's recording... Am I perhaps the only person on
the planet to find his version lacking in power? Quite frankly,
knowing Gardiner and in particular his way with Beethoven's Missa
Solemnis, I was expecting him to really deliver the goods, but was
sorly disappointed. Just as an example of what I mean, check out his
tympani in "Denn alles Fleisch": why that muffled, wimpy sound? Then
compare the same movement in Levine's version for RCA with the Chicago
Symphony: even without the benefit of hard sticks (as the ones
Gardiner's player should be using to conform to period performance
practice), the results are much more convincing (IMHO).

Any thoughts?

                             G.
From: midkiff@public.BTR.COM (Neil E. Midkiff  midkiff@btr.com)
Newsgroups: rec.music.classical
Subject: Re: Recommendation for Requiem music is needed.
Date: 22 Jul 92 00:16:14 GMT
Organization: BTR Public Access UNIX, MtnView CA. Contact: Customer Service cs@BTR.COM

In article <music.711664100@batman> music@moravian.edu (Steve Heller) writes:
>In <1992Jul20.190427.199691@cs.cmu.edu>  (Christopher Colby) writes:
>>In article <music.711647250@batman> music@moravian.edu (Steve Heller) writes:
>>>The late Spanish Renaissance composer, Tomas Luis de Victoria
>>>[1548-1611], wrote 2 Requiems. The 2nd of these, the last work the
>>>composer published [1605] is an hour-long masterpiece, stunningly
>
>>Wait.  I have a Tallis Scholars disc with a piece by Victoria simply called
>>"Requiem".  It is about 45 minutes long, I think.  It is absolutely
>>beautiful, but I wonder which one it is -- the first or the second.
>
>Doesn't it list the date of publication? I figured the Tallis Scholars
>would have the decency to give all pertinate information in their
>recordings. The 1605 Requiem (the 2nd) has some preliminary
>responsories and a closing refrain that are outside the confines of
>the traditional text of the Requiem Mass, which in total comes to
>about 57' on my Hyperion recording. I suppose it could have been sung
>faster and/or these extraneous sections eleminated on the performance
>you have; in fact (I wish I had it in front of me), I seem to recall
>that the Hyperion recording (Westminster Cathedral Choir) was the
>first to include all the material as published in a fairly recent
>revised version of the mass. I can check to verify that tomorrow...if
>you're interested let me know.

The Tallis Scholars recording (Gimell CDGIM 012) is of the 1605 Requiem,
following the edition of Bruno Turner.  The 1605 publication included some
extra motets and liturgical items to be performed along with the _Missa pro
defunctis_ proper.  It omitted a setting of the usual verse 'Hostias et
preces' and the consequent repeat of 'Quam olim Abrahae' in the Offertorium.

The CD tracks are listed as
1 Taedet animam meam  {second lesson of Matins of the Dead; 4-part}
2 Introitus: Requiem aeternam
3 Kyrie
4 Graduale
 i) Requiem aeternam
ii) In memoria
5 Offertorium: Domine Jesu Christe
6 Sanctus & Benedictus
7 Agnus Dei I II & III
8 Communio: Lux aeterna
9 Funeral motet: Versa est in luctum
10 Responsory: Libera me  {the Absolution, with final Kyrie}

The performance time is 42:07.

The disc concludes with another setting of _Versa est in luctum_ by Alonso
Lobo, written for Philip II's funeral [the Victoria requiem was written
for Philip's sister, the Dowager Empress Maria, in 1603, and published two
years later].  Lobo's motet is 4:36 in this performance.

-Neil
Xref: sparky rec.music.classical:10394 dc.forsale:1752
From: bhaskar@linus.umd.edu (S. K. Bhaskar)
Newsgroups: rec.music.classical,dc.forsale,um.music
Subject: Classical CDs for sale [ Haydn Symphs. ]
Date: 27 Jul 92 15:38:26 GMT
Distribution: dc

Hi,

I have the following 2 CDs for sale. I am selling them only because the 
music contained has been duplicated in other CDs that I have. They
play perfectly on my player.

1. Haydn, F.J
   Symphony No. 96 in D major ("Miracle").
   Symphony No. 94 in G major ("Surprise").
   The Academy of Ancient Music conducted by Christopher Hogwood.
   L'Oiseau-Lyre 414 330-2 DDD   :   Asking $8.00

2. Haydn, F.J
   Symphony No. 104 in D major ("London").
   Symphony No. 100 in G major ("Military").
   The Academy of Ancient Music conducted by Christopher Hogwood.
   L'Oiseau-Lyre 411 833-2 DDD   :   Asking $8.00

For what it is worth, I will mention that both CDs received the the highest
rating (***) in the Penguin Guide. These are four of Haydn's most popular 
last symphonies and the performances are by an "Original Instruments" group.
I will pay shipping in the DC area.

Bhaskar
(bhaskar@linus.umd.edu)
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical
Subject: Re: Good version of 'The planets' by Holst?
Date: 22 Jul 92 21:02:47 GMT
Organization: School of Computer Science, Carnegie Mellon

Once again I will put in a strong recommendation for the Dutoit on
London.  The performance strikes me as "just right".  Dutoit really
has a feeling for the impressionistic elements of the piece, and his
reading has great atmosphere.  The individual characters of each
planet are so well delineated that, listening to this recording, it is
hard to believe that they were composed by the same person.  Yet, the
Penguin Guide is right in that it all sounds absolutely idiomatic.
Some people have complaints about his Jupiter, but I've never heard a
bad word spoken about any of the remaining 6 parts.  All this is
helped by the superb sonics of the recording.  This is one of the few
discs that I recommend to everybody without any reservations
whatsoever.

I've heard quite a few other recordings, and I don't think any of them
come close.  I haven't heard the Levine/DG, which I hear is quite
good.  Also, isn't there a recent budget Mackerras/Virgo that got a
good review in _Fanfare_?

-chris
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: all-star Ionisation [Re: minimalism]
Date: 24 Jul 1992 00:20:35 GMT
Organization: CS Division, UC Berkeley
Distribution: na
NNTP-Posting-Host: ginkgo.cs.berkeley.edu
Keywords: ear candy

In article <1992Jul23.223910.15143@fid.morgan.com>, steve@fid.morgan.com (Steve Apter) writes:
|> 
|> Slonimsky (in his autobiography _Perfect Pitch_) also
|> mentions a recording he made for Columbia in `32 or `33
|> of Varese's _Ionisation_.  The performers were:
|> 
|> 	Carlos Salzedo: 	chinese blocks
|> 	Paul Creston:		anvils
|> 	Wallingford Riegger:	guiro
|> 	Henry Cowell:		piano
|> 	William Schuman:	lion's roar
|> 	Varese:			sirens

This was released, in fact I once checked it out from my high school
library, on a beat-up old LP.  I think you left out Walter Piston from the
list of performers, almost all then members of the Boulangerie.

Here's the Melvyl listing:

Title:         History making premieres.. Orion ORS 7150. [1971]
Description:   2 s. 12 in. 33 1/3 rpm. stereophonic.

Notes:         Title from slipcase; label title: Three historic premieres.
               Electronically re-recorded to simulate stereo.
               Program notes by Slonimsky on slipcase.
               Also includes A program of South American music; Olga Averino,
                 soprano; Alfredo St. Malo, violin; Nicholas Slonimsky, piano.
                 Recorded in 1941.
               Contents:  Ionisation, by Varese.--Barn dance, from Wahington's
                 birthday, and In the night, by Ives.--Lilacs, by Ruggles.
               Performers:  Orchestra, conducted by Nicolas Slonimsky.
               Recorded ca. 1931.

Subjects:      Orchestral music.
               Songs (High voice) with piano.
               Violin and piano music.

Other entries: Slonimsky, Nicolas, 1894-
               Averino, Olga.
               Saint Malo, Alfredo.
               Historic premieres.
               A program of South American music.
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Newsgroups: rec.music.classical
Subject: Elisabeth Borg Appears at Operafest '92
Date: 28 Jul 92 18:05:08 GMT
Organization: Mail to News Gateway at Wang Labs

QUINCY, MA--(July 28, 1992)--Elisabeth Borg appeared for the
first time last night at the Massachusetts Operafest '92
in Quincy to a big ovation from the enthusiastic audience.
She sang the lead role from Rossini's Cenerentola, followed by
the role of Hedwiga in Rossini's William Tell.

The other singers switched roles from the preceding night, with
soprano Kim Griffing singing the role of Lucia in Lucia di
Lammermoor, mezzo Dianna Daly singing the role of Emilia in Otello,
and soprano Ana Lorenz singing Mrs. Fiorentino in Weill's Street Scene,
accompanied by Dianna Daly singing Mrs. Olson.

Melissa Wilkison starred in the role of Mathilde in William
Tell and Abigaille in Verdi's Nabucco.

Both Elisabeth Borg and Dianna Daly are recent graduates of
Smith College, and participate in the Opera at Longy graduate
program at the Longy School of Music next to Harvard University.
Melissa Wilkison and Dianna Daly also participate in the Longy
opera program.

The event was another successful performance directed by Donna
Roll who heads the rapidly expanding Opera at Longy program in
Cambridge.  A number of "bravos" were heard during the evening.

Operafest '92 continues through Wednesday at Eastern Nazarene
College in Quincy, before proceeding to Cape Cod where it is
almost completely sold out.  Wednesday's finale in Quincy will
include a performance by local favorite John Archer.
From: apengell@axion.bt.co.uk (Alan Pengelly)
Newsgroups: rec.music.classical
Subject: BBCs `Life on Earth' theme
Date: 21 Jul 92 06:57:57 GMT
Reply-To: apengell@axion.bt.co.uk (Alan Pengelly)
Organization: British Telecom Research Labs


Does anyone know if the theme music to the BBCs 'Life on earth'
and `The Living Planet' series' were especially composed, or are 
extracts from previous compositions. They certainly strike me as
the latter. But I'd be interested to know either way, and if any
recordings are available.


						many thanks

						Alan
+-----------------------------------------------------------------------------+
| Alan Pengelly ,             (apengell@axion.bt.co.uk)      (+44) 473 646652 |
| Software Development Division,                                              |
| BT Laboratories, Martlesham Heath, Ipswich, IP5 7RE, Suffolk, England, U.K. |
+-----------------------------------------------------------------------------+
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: Complete Set of LvB Piano Sonatas(wrong notes)
Date: Fri, 24 Jul 92 09:45:44 EDT

In <1992Jul24.011917.15896@galileo.cc.rochester.edu> ttak@troi.cc.rochester.edu (Tim Takahashi) writes:


>I offer these words of wisdom. Try to find a
>single disk of Artur Schnabel playing some Beethoven Sonata's. Listen
>and judge for yourself! This man has been considered one of the foremost
>Beethoven interpreters of all time. Do you care for his interpretation?

I have the complete Schnabel Beethoven sonatas, and have tried
'desperately' to appreciate them on whatever level I can, but I must
admit that I have never 'heard the magic' that you (and many others)
claim is in his playing. I also admit that I have little tollerance
for wrong notes, slack tempos and early monophonic (and in my case,
scratchy) recordings. I know that many very good performers feel
'brow-beaten' by the 'perfection' that has been achieved by the modern
recording studio, and replicating it in concert is virtually
impossible for most 'real world' performers, which is a problem, but
one we will have to live with, and one that will quite possibly push
performance quality to greater heights in the long run. While not as
accurate maybe, as a 1930's Schnabel 'raw' recording, reproducing
piano rolls give us a pretty good idea of how performers from roughly
1900-1940 actually played. Take Scriabin for example. The history
books talk of him being a spectacular performer, but I really don't
care for his style much at all. While I find most of these piano rolls
very interesting, stylistically and technically I think most of them are 
inferrior to the best performers we have today. Schnabel was a superb
Beethoven interpreter in his time, but to place him on the highest pedastal 
for ever and anon is a bit like the die-hard 'authentic instruments/
performance practice' school who insist beyond reason that the music
can only be performed 'the old way' and any modern interpretation is
'invalid'. I say respect Schnabel for his greatness, but don't live in
the past. There are plenty of superb performers, both technically and
stylistically, in the world today that can give fine Beethoven
performances, and there will certainly be more to come.
-- 
*-------------------------------------------------------------------------*
#   "Who let all this riff-raff into the room?!?" - The Surrogate Band    #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
#           [ All opinions are strictly MY OWN! Hands off! ]              #
*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: minimalism
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Distribution: na
Date: Wed, 22 Jul 1992 16:47:23 GMT

In article <1992Jul22.022007.26318@slc.com> 
marcs@slc.com (Marc San Soucie) writes:
>music@moravian.edu writes:
>Dare I suggest that Glass is the Mozart/Haydn/Vivaldi of our time? Cranking 
>out endless variations in a single style with little significant change? In 

What does this have to do with Haydn or Mozart?  Do you note a "single
style" or "little significant change" between Haydn't Op. 1 quartets and
his Op.77? Or between his first and last symphonies?  Even Mozart, with
his relatively short mature career (ca. 15 years), completely
transformed the genres he worked in, such as comic opera and the piano
concerto.

>fact, in his book he suggests as much himself, 

He's a fine self-promoter...

>saying (if I recall 
>correctly) that modern composers change their styles too much, and don't 
>adequately work out their ideas over time. Perhaps there isn't enough to 
>the Einstein idea for 20 years' worth of music.

(Well, there certainly isn't enough for 4 CDs, but that's a different
issue.  8-) )

As for modern composers changing their styles, who might that be?  Not
Carter!  Not Babbitt, not even John Williams.  Alfred Schnittke has gone
over the same ground many times, often with highly interesting results.

>> Neither form can survive, although certain elements of each form will 
>> almost certainly thrive.

>Any style will survive if the composer can make it interesting enough.

Rephrase: "if enough people find it interesting."  Very often the
things the composer finds most interesting are not those the audience
picks up on.  It's not really in the composer's control, especially in
the long run (i.e., "survival").

Roger

Newsgroups: rec.music.classical
From: pmy@vivaldi.acc.virginia.edu (Pete Yadlowsky)
Subject: Re: minimalism
Organization: Academic Computing, University of Virginia
Date: Thu, 23 Jul 1992 04:02:52 GMT

In article <1992Jul22.233534.13435@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:

>>What does this silliness:

>>]	Music				Eating Cookies

>>have to do with this question:

>>>>Why do desires need to be justified? 

>It is often appropriate to ask "Why do you like X?"
[...]
>There.  Is that better?

Frayed knot. You're making no more sense than before. The question is not
"Why do you like X?". Nobody has asked that, and certainly not the Yode-ster.
It's "Why do desires need to be justified?". Do these look the same to you?
Perhaps it's because they both start with "Why do". But if we take the rest
of each, we have two assertions:

	- desires need to be justified
	- you like X

See, one is a general prescription concerning desire and the other is a more
concrete statement on the appreciation "you" has for item X. Nobody has
asked why or if _music_ requires justification, either, as you seem to suppose
in your peculiar and apparently irrelevant comparison of music and cookies
(walnut-raisin, if you please). The topic is desire and its, umm,
justification. Is that better?

--
Peter M. Yadlowsky              |  Wake! The sky is light!
Academic Computing Center       | Let us to the Net again...
University of Virginia          |    Companion keyboard.
pmy@Virginia.EDU                |                      - after Basho
From: korkosz@uicsl.csl.uiuc.edu (Richard Korkosz)
Newsgroups: rec.music.classical
Subject: Faure Melodies & Requiem
Date: 28 Jul 1992 19:59:47 GMT
Organization: Center for Reliable and High-Performance Computing, University of Illinois at Urbana-Champaign
Distribution: world
NNTP-Posting-Host: uicsl.csl.uiuc.edu

Hello folks, 

	I just picked up the EMI 4CD box set of Faure Melodies with 
Elly Ameling (sop), Gerard Souzay (bar), and Dalton Baldwin (pno).  Since I 
do not know French, I was disappointed to find that English translations of 
the lyrics were not provided.  Does anyone know if any English translations 
are available, and if so, can you please list a source(s)?  If this doesn't 
pan out, I guess I have a good excuse to learn some French :)

	Also, I am interested in hearing recommendations for recordings of 
Faures' Requiem.  I have the Rutter, et. al. performance on Collegium, which 
is a "lightly" scored version.  I like this performance very much (as well 
as the rest of the music on the CD, which is excellent IMHO), but would still 
like to try a different interpretation of the Requiem.  Anyone have any 
favorites?

	Thanks in advance for your suggestions.

Rick Korkosz
korkosz@uicsl.csl.uiuc.edu
Univ. of Illinois at Urbana-Champaign
From: jcc@cco.caltech.edu (Julian C. Chen)
Newsgroups: rec.music.classical
Subject: Re: Complete Set of LvB Piano Sonatas(wrong notes)
Date: 25 Jul 92 01:27:09 GMT
Organization: California Institute of Technology, Pasadena

John,

The Schnabel recordings I enjoy the most are the last three sonatas, Op.
109, 110, and 111. Interpretation-wise, they are perhaps the most difficult
of the sonatas, and technically, they are also very challenging. 
These last three sonatas are revealed magnificently by Schnabel, who not
only tackles the technical difficulties (e.g. the trills in 109 and 111),
but for me, seems to get to the heart of the music, making it almost a
religious experience for me, IMHO.
Having worked on 109 and parts of 110 and 111 myself, I am amazed at his
control of the technique, as well as his mastery of bass-treble balance,
and his separation of voices. 
They are definitely my favorite of Schnabel's Beethoven interpretations. Go
and hear it for yourself.


Julian Chen
Caltech
Newsgroups: rec.music.classical
From: dclason@nmsu.edu (Dennis Clason)
Subject: Re: Good version of 'The planets' by Holst?
Organization: New Mexico State University
Date: Mon, 27 Jul 1992 16:14:00 GMT

In article <BrurrB.M4y@news.cso.uiuc.edu> camg0370@uxa.cso.uiuc.edu (Christopher A. Morosin) writes:
>In addition to the use of the organ (which is shamefully ommited in several 
>recordings) the Davis recording uses a children's choir instead of a women's
>choir in Neptune, which adds a different quality to the work, and i THINK
>may be what is called for in the score, but I'm not sure about that. The 
>xylophone in Uranus also comes out better in the Davis than most of the 
>other recordings as well. (I also liked Dutoit's Jupiter, by the way.)
>

Nope.  Score calls for women's choir (six voices, if I remember that
part right).  






--------------------------------------------------------------------------
Dennis L. Clason                             EMAIL: dclason@nmsu.edu
Department of Experimental Statistics               ESTATX08@NMSUVM1.BITNET
New Mexico State University
From: colby@tsd.arlut.utexas.edu (Colby Leider)
Subject: What if...
Organization: Applied Research Labs, University of Texas at Austin
Distribution: rec
Date: Fri, 24 Jul 1992 21:27:56 GMT

What if...
...J.S. Bach were alive today?

colby leider
colby@titan.tsd.arlut.utexas.edu
From: v035550@stortek.com (Steve Monroe)
Newsgroups: rec.music.classical
Subject: Where is rec.music.compose?
Date: 23 Jul 92 19:27:22 GMT
Organization: Storage Technology Corp.  Louisville, CO
Originator: v035550@stcvax

Does 'rec.music.compose' exist?
Whatever happened to it? I recall
voting for it, and voting closing
at some point in July, but don't
remember any specifics.  Anyone
know what's going on?

just curious...

sm(V035550@stortek.com)
-- 
"Music comes from composers - not musicians"
 -Frank Zappa : "The Real Frank Zappa Book", p.174.
Newsgroups: rec.music.classical
From: arunc@dragonfly.wri.com (Arun Chandra)
Subject: Re: Question about "Carmina Burana"
Organization: Wolfram Research, Inc.
Date: Fri, 24 Jul 1992 15:04:42 GMT



music@moravian.edu (Steve Heller) writes:
> And I personally don't think the rise of Nazism had anything to do
> with the music, despite its menacing tone.

The composer benefitted from Nazism.  The successor to Carmina
Burana, Catulli Carmina, was commissioned by and had its premiere for
the Nazi government of Leipzig.

Arun Chandra
arunc@wri.com

--
Arun Chandra
arunc@wri.com
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: minimalism
Keywords: ear candy
Organization: Morgan Stanley & Co., New York, NY
Distribution: na
Date: Thu, 23 Jul 1992 22:39:10 GMT


This is Ives, from a letter to Nicholas Slonimsky:

	Art and business are hitched together.  98 2/3 %
	(I like to be precise) of all radio and phonograph
	records are sebaceous cysts, and soft ones at that,
	and they sell, though if a 3-year-old is always fed
	candy for breakfast, he will always be a 3-year-old,
	and the oatmeal market will die.

Slonimsky (in his autobiography _Perfect Pitch_) also
mentions a recording he made for Columbia in `32 or `33
of Varese's _Ionisation_.  The performers were:

	Carlos Salzedo: 	chinese blocks
	Paul Creston:		anvils
	Wallingford Riegger:	guiro
	Henry Cowell:		piano
	William Schuman:	lion's roar
	Varese:			sirens
	
Slonimsky conducting.  He fails to mention whether the
record was ever released.  

Margaret?
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: minimalism
Date: 23 Jul 1992 17:53:40 GMT
Organization: CS Division, UC Berkeley
Distribution: world
NNTP-Posting-Host: ginkgo.cs.berkeley.edu

In article <13639@mindlink.bc.ca>, Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
|> Deryk Barker (dbarker@camins.camosun.bc.ca) writes:
|> 
|> > Does anyone else feel that Glass is completely overrated?
|> 
|> Not only do I think Glass is overrated, I think it's unfortunate that he is
|> RATED, period.

Hmm.  You mean it bothers you that people ask themselves how well they like
his music, and consider whether they like other music better?  Do you feel
listeners to Glass should enter an unreflective trance?

|> If you're going to reply in E-mail, please don't quote my whole
|> message back to me -- I (usually) remember what I said!

It's just a convention, Mike -- like that of having .sigs which are the
same every time you post a message, long after people have memorized them.

	Vance
Newsgroups: rec.music.classical