HDTenEightyP/NetNews huggingface dataset:
From: rags@triples.math.mcgill.ca (Robert A. G. Seely)
Subject: Re: Request for Music Retailers' Addresses
Organization: /etc/organization
Date: Wed, 6 Jan 1993 14:37:30 GMT

In article <1993Jan5.150153.11047@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
>In article <1993Jan4.042359.23732@nuscc.nus.sg>, elltankw@nuscc.nus.sg (Tan Kok Wan Peter (Dr)) writes:
>>  These would have to be willing to deal
>> with overseas mail order, obviously.  So far, I've tried out two British
>> ones: Blackwell's Music Shop in Oxford.
>
>Just my incredibly humble opinion: you can't get better than Blackwell's,
>especially for mail order. Mind you, if I didn't say that my fiancee would
>murder me.

OK - somebody has to plug for "the other place": Heffer's Bookstore, Trinity
Street, Cambridge.  (My account still remains from my student days, and is a
good supplement to the Canadian sources closer to hand.  They are quick,
efficient, and best of all, located across from the greatest college court
(not "quad") in the world.  ;-}

Sorry, I forget the postcode - but I am sure the above will reach them.

-rags

Newsgroups: rec.music.classical
From: dwong@chopsuey.pico ( paganini's admirer )
Subject: Re: who is the concert master of berlin phil?
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Fri, 8 Jan 1993 23:47:25 GMT

In article 93Jan8214054@kongming.ccsr.u-tokyo.ac.jp, furufuru@ccsr.u-tokyo.ac.jp (Furue Ryo) writes:
>In article <1993Jan8.070149.3941@colorado.edu> duli@boulder.Colorado.EDU (Li Du) writes:
>
>>In article <1993Jan8.032916@debbie.cc.nctu.edu.tw> (Crazy for Mozart !) writes:
>>>:  paganini's admirer (dwong@chopsuey.pico) wrote:
>>>:  does anyone know?  and is he asian??
>>>
>>>He is Claudio Abbado, an Italian!
>>>--
>>>wang ming hong
>>>
>>	 Oh, come on! The guy is asking about the concert master,
>>	 not the conductor.
>>
>
>I think BPO has more than one solo violinist; one plays as the
>concert master in a concert, another plays in another concert.
>And one of them is a Japanese. Yasunaga is his surname.
>
>Ryo FURUE
>furufuru@ccsr.u-tokyo.ac.jp


Thanks for the info.  If Yasunaga is one of the concert masters, what did he do to
deserve such a high position?  It looks kind of funny that in the last concert there
were no Asians in any other seat of the orchestra, except the highest seat!?  The TV 
camera was constantly focused on the guy behind Yasunaga.  That was the reason I want
to find out more detail on the orchestra.


dw.
From: casseres@apple.com (David Casseres)
Newsgroups: rec.music.classical
Subject: Re: There's nothing wrong with Bolero
Date: 11 Jan 93 22:51:18 GMT
Followup-To: rec.music.classical
Organization: Apple Computer Inc.

In article <1993Jan8.200908.618@osf.org>, dbrooks@osf.org (David Brooks)
wrote:
> 
> r4smith@student.business.uwo.ca (Richard Smith) writes:
> | Bolero is a tour-de-force of construction and orchestration and well 
> 
> Ahem.  The placement of the trombone and saxophone solos causes an
> unwelcome (to these ears) interruption in the monotonic increase of
> tension.
> 
> The requirement for three extra percussionists in the last 6 measures
> (OK, I admit it, bassdrum/tamtam/cymbal can be handled by one player) is
> a logistical pain.
> 
> | worth paying close attention to. The distasteful remarks are due to the 
> | fact that it has been overplayed in the past and has reached "warhorse" 
> | status. Musicians (especially those with a musicological bent) have a 
> | pathological distaste for warhorses. Just ignore them. Listen and enjoy.
> 
> Snare-drummers have a dislike for the feeling in the wrists after 17
> minutes.  That's if they haven't suffered muscle spasm and dropped the
> sticks by then.
> 
> Having got over my carping (and dreading the next Wellesley Symphony
> concert), I still enjoy listening to it occasionally.

Me too.  I first got to know the Bolero when the high-school concert band I
was in played it.  The best performance I've heard was at Radio City Music
Hall, where they ranged the percussionists along the walls of the
auditorium and hid them behind curtains, which were opened in sequence at
each entrance of yet another drum.  A sort of orchestral strip-tease, and
yes, the music is heavily sexual.

As Roger Lustig says elswhere in this discussion, "This is simply a Build
to a Climax, with nothing really terrific at the end, just this sudden
collapse.  In other words, a fifteen-minute fuck."  Well, there's a niche
for practically everything somewhere in the world of music, and the Bolero
fills that one quite nicely.

--

David Casseres
Exclaimer: Hey!
Newsgroups: rec.music.classical
From: dementia@cheshire.oxy.edu (Daniel Steven Reinker)
Subject: Anyone heard of Huenter Kradaken?
Organization: Occidental College, Los Angeles, CA 90041 USA.
Date: Tue, 5 Jan 1993 06:26:22 GMT

Has anyone heard of this very obscure composer? I have heard his
third symphony, which is also called "St. Peter and the Four Dragons"
and would like to know if he has done anything else. (Assumedly
he has done at least two more symphonies, but despite searching I
have yet to find anything.)

Thanks in advance,
Steve
-- 
"You can't help that. We're all mad here."-The cheshire cat, Alice in WL

"A mass hysteria/a megalomania/reveal Dementia/reveal"-Metallica                
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: carnival of the animals
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 5 Jan 93 13:34:09 EST

DP>Laura Kittleson (LAURA@UCF1VM.BITNET) wrote:
  >: A long time ago, in a town far far away, I used to listen to
  >: a radio station that would occasionally play a recording of
  >: Saint Saens' Carnival of the Animals, in which Noel Coward
  >: read verses written by Ogden Nash, relevant to the work.

DP>The recording was CBS LP KLL529 (MONO), and was with Andre Kostelanetz and
  >his orchestra. Leonid Hambro and Jascha Zayde were the pianists.

And it's a first-class *treat*, too. Well worth whatever trouble it
takes to find a copy. But ... if you can't ... Karl Boehm and Hermione
Gingold also did this on DGG in stereo in the mid-70s. Great stuff!

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,rec.music.jazz,rec.music.misc
From: clavazzi@nyx.cs.du.edu (The_Doge)
Subject: Re: CARTOON MUSIC! HELP AND A CHALLENGE
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Thu, 7 Jan 93 03:49:34 GMT

In article <1993Jan7.005733.1391@Princeton.EDU> shari@phoenix.Princeton.EDU (Shari L. Landes), shari@clarity.princeton.edu writes:
>A few weeks ago while turning the dial on my car radio, listening to
>bits of this and bits of that, I encountered a radio show where the
>guest was giving his opinion of the 10 best CD's of the year.  He
>proceeded to play a snippit of two cuts off one of his favorite 1992
>disks.  These cuts were originally made in the 1920's and 1930's and
>through the wonders of technology they were remastered for release in
>1992.  The music was upbeat, fast, jazzy.  Lot of clarinets.  Happy
>music.  CARTOON music.  I'm sure I recognized these tunes as
>background-type music for the 'toons, Warner Bros circa 1930-1940.
	This sounds an awful lot like "The Carl Stallings Project", a
collection of *new* recordings of classic Warner Brothers cartoon scores.
It's a Warner Brothers CD, catalog #26027-2.  This is yet another in a series
of CD "projects" by Hal Wilner.  One of my faves in this series was "Stay
Awake", a CD of songs from Disney cartoons with performances by folks like
The Roches, Los Lobos, Sinead O'Connor, and Hary Nilsson.  I believe Wilner
also produced a Kurt Weill album, but I haven't heard it.
The_Doge

Newsgroups: rec.music.classical
From: mjenkins@alfred.carleton.ca (Michael Jenkinson)
Subject: Re: Anyone heard of Huenter Kradaken?
Organization: Carleton University
Date: Tue, 5 Jan 1993 17:53:08 GMT

In <C0E0vG.LtD@ucunix.san.uc.edu> balesej@ucunix.san.uc.edu (Eric J Bales) writes:

>He was indeed born in Vienna, from what I remember, then moved to Moscow
>right before the war.  After the third symphony, which was the last thing
>he composed in Vienna, he started doing more traditional stuff.
>I like his second, personally.

Oh, indeed his second was superior to the third, but the third
symphony had that *je ne se quoi* about that always stirs my heart.

I really don't know why Kradaken never really broke more to the
"mainstream". It's unfortunate.

Oh well, at least us, his few fans, can appreciate him!

Michael
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Messiah "Amen" and tympani
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 5 Jan 1993 17:34:43 GMT

In article <1JAN199308374196@amarna.gsfc.nasa.gov> packer@amarna.gsfc.nasa.gov (Charles Packer) writes:
>In the Colin Davis recording of Handel's "Messiah"
>the final "amen" is "spelled out" by the typamni.
>In Robert Shaw's recording, the tympani play only
>a roll on the last syllable. Which way is "right"?

Boy, are *you* in luck!  I'm in the middle of moving into the new house,
and the box with the Messiah score happened to be on top.

The last three measures have two half notes, then two whole notes, 
for the tympani.  No rolls, no fancy rhythms.  

But this doesn't sound too majestic,esp. given the care with which
GFH has deployed the tympani so far in this movement.  (I once posted
a long analysis of this movement and the way it builds to a climax by
reducing the fugue at the beginning into something simpler and more
grand -- but that was 5 or 6 years ago, and I don't have it around
anymore.  Where's the NSA when you need them?  8-)  )  Anyway, one 
needs at *least* a roll, but this is Baroque music, after all, and 
thoughtful embellishment is not only welcome but often necessary.  
(Remember: a score is the set of things the composer feels the need
to tell the performers.)

So: both ways are right, and also "right."  Which way do you like better? 

Roger
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Tournemire PIANO works
Organization: University of Western Ontario
Date: Mon, 4 Jan 1993 19:50:56 GMT

Anybody know this stuff and have recommendations?

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: atems@igor.physics.wayne.edu (Dale Atems)
Subject: Re: Q: Inbal's Mahler
Keywords: Mahler, Inbal
Organization: Wayne State University, Detroit, MI
Date: Thu, 7 Jan 1993 05:50:58 GMT

In article <C0FL15.KD@sci.kun.nl> pieterh@sci.kun.nl (Peter Herweijer) writes:
>I can get Eliahu(sp?) Inbal's discs of Mahler symphonies (and more)
>on Denon very cheap. Now I've heard very little about these (though
>what I've heard is not negative) and I wondered if there are any
>net.people that can give me their opinion about these versions. Are
>they any good? How do they compare, say, to the likes of Horenstein
>Walter Klemperer and Barbirolli?

The reviews I recall said that Inbal was most successful in the
Wunderhorn symphonies (basically the 1st thru 4th). Some praised
his bringing out the Wunderhorn connections in the later symphonies,
others were less flattering. I have his 6th and Das Lied von der Erde
and would definitely not recommend either one. Seemingly he tries to
emphasize the lyrical qualities without (IMHO) understanding the
subtler shades of irony, etc. underneath.

------
Dale Atems
Wayne State University, Detroit, MI
Department of Physics and Astronomy
atems@igor.physics.wayne.edu
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: Voice Leading Correction
Date: 11 Jan 93 22:11:55 GMT
Article-I.D.: husc3.1993Jan11.171156.19197
Organization: Harvard Math Department

In article <1isjbvINNi9f@calvin.usc.edu> alves@calvin.usc.edu
(William Alves) writes:

>I would look at the intervals from the bass. If there exists a perfect
>fourth, diminished fifth, or minor seventh, (or any compound interval
>version, of course) the voice which forms that interval with the bass
>should be a half-step lower in the following chord.
             ^^^^^^^^^
Could also be a whole step in the case of a fourth or seventh...

>                                               Some other dissonances
>are harder to spot algorithmically (not to mention for Renaissance
>theorists, who always looked at the voices in relation to the bass,

Why is this any harder to define algorithmically?

>and thus introduced the notion of the perfect fourth being a "dissonance.")

...and conversely allowed C-G-A to be a "consonance"?  I doubt that any
Renaissance composer treated it that way.

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
From: wikla@cs.Helsinki.FI (Arto Wikla)
Newsgroups: rec.music.classical
Subject: Re: French Baroque Chamber Music
Date: 5 Jan 1993 12:26:43 +0200
Organization: University of Helsinki, Department of Computer Science
Distribution: world
NNTP-Posting-Host: hydra.helsinki.fi

In <1993Jan4.175700.6742@midway.uchicago.edu> pkbockus@gsbphd.uchicago.edu (Keith Bockus) writes:

>....
>For the Italians, I only have the standard Corelli.
>Who should I be seeking out?

- Monteverdi's operas and late, concerting madrigals,
- Frescobaldi's music for keyboard, chamber canzonas,
- Fontana, Castello, Cima,... solo  and chamber music,....
- Caccini, Sigismondo d'India, Barbara Strozzi, Cavalli,..., solo song,
- Piccini, Kapsberger,..., lute music,...
  
(this was just a selection of early Italian Baroque composers, 
  for later ones, I let somebody else continue...)

Arto Wikla, Helsinki, Finland

Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Messiah "Amen" and tympani
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 5 Jan 1993 17:50:36 GMT

In article <1993Jan4.055735.9362@cucs5.cs.cuhk.hk> bmtong@cs.cuhk.hk (Tong Bo-Ming) writes:
>packer@amarna.gsfc.nasa.gov (Charles Packer) writes:

>>In the Colin Davis recording of Handel's "Messiah"
>>the final "amen" is "spelled out" by the typamni.
>>In Robert Shaw's recording, the tympani play only
>>a roll on the last syllable. Which way is "right"?

>What do you mean by "spell out" ? I did not hear that recording.
>I guess the last amen (I don't remember) should be a plagal cadence,
>right ?  Then it should be G and D.

No, it's a perfect authentic cadence.  And the tympani play D-D-A-D.

Roger
Newsgroups: rec.music.classical
From: caf@omen.UUCP (Chuck Forsberg)
Subject: Re: carnival of the animals
Organization: Omen Technology INC, Portland Rain Forest
Distribution: rec
Date: Tue, 05 Jan 1993 23:29:01 GMT

In article <19935.4216.26421@dosgate> "alexander inglis" <alexander.inglis@canrem.com> writes:
>DP>Laura Kittleson (LAURA@UCF1VM.BITNET) wrote:
>  >: A long time ago, in a town far far away, I used to listen to
>  >: a radio station that would occasionally play a recording of
>  >: Saint Saens' Carnival of the Animals, in which Noel Coward
>  >: read verses written by Ogden Nash, relevant to the work.
>
>DP>The recording was CBS LP KLL529 (MONO), and was with Andre Kostelanetz and
>  >his orchestra. Leonid Hambro and Jascha Zayde were the pianists.
>
>And it's a first-class *treat*, too. Well worth whatever trouble it
>takes to find a copy. But ... if you can't ... Karl Boehm and Hermione
>Gingold also did this on DGG in stereo in the mid-70s. Great stuff!
>
>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

Without a doubt the best, certainly the sassiest performance I've heard
is on a Philips CD 416 841-2.  Once you've heard this performance nothing
else will do, trust me.  Highlighted performers are Argerich, Freire,
Kremer, Van Keulen, and Maisky.  

-- 
Chuck Forsberg WA7KGX          ...!tektronix!reed!omen!caf 
Author of YMODEM, ZMODEM, Professional-YAM, ZCOMM, and DSZ
  Omen Technology Inc    "The High Reliability Software"
17505-V NW Sauvie IS RD   Portland OR 97231   503-621-3406
From: coren@speed.osf.org (Robert Coren)
Newsgroups: rec.music.classical
Subject: Re: Valkyrie recordings
Date: 4 Jan 93 14:57:55 GMT
Organization: Open Software Foundation

In article <92366.141301KSSHC@CUNYVM.BITNET>, Ken Sherrill <KSSHC@CUNYVM.BITNET> writes:
> For the record, however, my favorite Act I Siegmund is Ramon Vinay, who sings
> brilliantly and also acts persuasively with the voice. He actually SOUNDS like
> an exhausted hero in his entrance.

I haven't heard this, but I agree in principle -- I get really annoyed
with Siegmunds who sing their first line as a nicely-turned phrase
with beautiful tone, just as you'd expect before collapsing in a
faint, right?
Newsgroups: rec.music.classical
From: jwenger@ulci06.unil.ch ()
Subject: Re: Couperin - recorded by Scott Ross ??
Keywords: Couperin Ross
Reply-To: jwenger@ulci06.unil.ch ()
Organization: University of Lausanne - CH (Switzerland)
Date: Fri, 8 Jan 1993 13:29:55 GMT


In article <i3270.726417061@newsie>, i3270@zarina.dc.dk (Erik Kristiansen) writes:
>
|>In the biography by Wilfried Mellers on Francois Couperin 
|>he says that Couperin has been recorded by the harpsichordist
|>Scott Ross. Has anyone heard of it?
|>

The complete Francois Couperin harpsichord music was indeed recorded
by Scott Ross, and was published on LP's by the small french firm STIL.
STIL reissued it in the CD format a couple of years ago, in a limited,
numbered edition. To tell the truth, I had a pretty hard time to find it.
BTW, Stil did the same for Scott Ross's Rameau and Scarlatti (Kk 1-30).
I don't have the details, as I don't keep my record collection at my 
office...If you need them, I'll mail/post them monday.

					Jacques
Newsgroups: rec.music.classical
From: "bob warren" <bob.warren@canrem.com>
Subject: antony vs. anthony
Reply-To: "bob warren" <bob.warren@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 5 Jan 93 16:31:11 EST

To: wilcox@vax.oxford.ac.uk

SWIn article <1993Jan1.4216.26336#dosgate>, bob.warren@canrem.com (bob warren
SWtes:
SW>       I am presently reading several books by Antony Hopkins which I
SW>     feel are excellent introductions:
SW
SWJust in case anyone's wondering, that's Anthony Hopkins the British
                                             
SWmusicologist and broadcaster, who is probably not well-known (except in a
SWcertain community) in the states, and not Anthony Hopkins the British actor
SWwho is probably almost universally known in the states, and who, incidental
SWhas just been knighted.


      1) What do you mean, " (except in a certain community) " ????

      2) How did you get into Oxford with your powers of observation ?
         I spelled the author's name properly -  A N T O N Y.

         Have you actually ever looked at any of his books ??

---
  SLMR 2.1a #1696  Support FREE software - write it yourself!!!!
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: hcresnic@quads.uchicago.edu (hugh carney resnick)
Subject: Re: Bruckner (was: Re: Best finale)
Reply-To: hcresnic@midway.uchicago.edu
Organization: University of Chicago
Date: Mon, 11 Jan 1993 03:13:33 GMT

Speaking of B's.... Out of the 10 music majors in my graduating class from 
Kenyon College (class of '91), fully five last names began with the letter
B! See....

Biran		Edsall
Bruch		Resnick
Buehrer		Kintz
Burgomaster	Cooney
B....		Missett

This proves (at least to me) that people whose last names begin with B
are disproportionately crazy enough to major in music.

:^>

-- 
_________________________________________________________________________
Hugh C. Resnick 				The University of Chicago
Send e-mail to: hcresnic@midway.uchicago.edu	   Graduate Music Program
_________________________________________________________________________
Newsgroups: rec.music.classical
Newsgroups: rec.music.classical

|Can anyone explain how God [insert favourite creating force] could be so cruel
|to the rest of us as to enable Dmitri Hvorostovsky and John Mark Ainsley to
|sing like doves and have major recording careers before they're even thirty?
|They are both rivals of mine in love: if they didn't sing so divinely I might
|have a chance.
|Stephen Wilcox   
|----------

Can anyone recommend any recorded works of John Mark Ainsley? I heard him
sing in the Messiah (Andrew Parrott & LCO(?)) at the 91 Bath Festival and
I was totally captivated. Any recommendations?

			Chris. xxx.




________________________________________________________________________________
    "It's a sobering thought that by the time Mozart was my age he had been
                    dead for two years" - Tom Lehrer.
________________________________________________________________________________
Chris Robson, MS 5UR5			Phone:	(503) 750-2766
HP Corvallis Division			Fax:	(503) 752-7811
1000 NE Circle Bvd.
Corvallis, OR 97330			E-Mail:	chrisr@hpcvra.cv.hp.com
USA
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: Bruckner
Date: 4 Jan 93 20:42:01 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

Francois R. Velde paraphrases ze fransh een a more melodious stylee:
>> He said about him : "On ne monte pas au paradis avec un train de marchandises"
>> which means roughly (excuse my english) : "One doesn't go to heaven by a goods train"

>or "a freight train".  

And you know, this isn't just an idle musing. Not to get theological at 
this early a point in the year, but a line from that old Jimmy Rogers
78 we had at home in my youth comes to mind here (it's from "The Hobo's
Meditation" or something like that, anyway):

Will there be any freight trains in Heaven
Any boxcars in which we might hide?
Will there be any jump cops or brakemen?
Will they tell us that we cannot ride?

How this will affect Bruckner fans it's hard to tell. My head is still
spinning from all those horrible stories of folks who tried to get to
Heaven by stowing away in the plane's wheel wells (The person who told
me the story positively loathes Hohvaness, so we'll figure she's talking
about *them*) and then getting squished after takeoff when the wheels
are retracted....


--
The law moves quickly in the rain/and chokes the world with memorials./The
courts accept the lowest superstition/into evidence. And we embrace quickly in
the rain,/conceiving a hale infant with hands to wrinkle/the bedsheets toward
it, wave by trough by wave./Gregory Taylor/Heurikon /Madison, WI/608-828-3385
Newsgroups: rec.music.classical
From: tomm@cup.hp.com (Tom McNeal)
Subject: Re: Virtuoso Oboes
Date: Tue, 12 Jan 1993 22:04:22 GMT
Organization: Hewlett-Packard
X-Newsreader: TIN [version 1.1.4 PL6]

: So, who ARE the virtuoso oboe players these days? I was stumped by this

I'd say Heinz Holliger (sp?).  Any other suggestions out there?

-------------------------------------------------------------------
tomm@hpindada.cup.hp.com
Tom McNeal at Hewlett-Packard's Information Networks Division 
19410 Homestead Rd., M.S. 43LN, Cupertino, CA  95014  (408)447-2300
-------------------------------------------------------------------
From: knotts@hpl-opus.hpl.hp.com (Tom Knotts)
Date: Mon, 11 Jan 1993 21:17:00 GMT
Subject: Re: Looking for D. Oistrakh CDs
Organization: HP Labs, High Speed Electronics Dept., Palo Alto, CA