HDTenEightyP/NetNews huggingface dataset:
From: dnsurber@lescsse.jsc.nasa.gov (Douglas N. Surber)
Newsgroups: rec.music.classical
Subject: Companion CD for Oxford Concise History of Music?
Keywords: Music History, Music Theory
Date: 12 Jan 93 20:03:09 GMT
Organization: Lockheed Engineering and Sciences


I am not a musician, just a fan of classical music.  After many years of
listening, I decided I wanted to learn something about the music I enjoy
so much.  So I bought the "Oxford Concise History of Music."  I am up to
the Renaissance and it mostly has provided the information I am looking for.
With two exceptions.

1) It assumes an understanding of music theory that I lack.  I can
extract a certain amount of understanding about things like hexacords from the
text, but I totally miss the point of the discussions.  I understand the
words and sentences, but the point goes over my head.  Can anyone suggest
a primer on music theory for morons?  Preferably one that covers the historical
stuff as well as the current.

2) Is there a companion CD?  No, really.  I can beat out simple rythyms
with out too much trouble, but there is really no way I can hear the notes
and harmonies.  If I had a keyboard of some kind I could handle the melodies
but several years of piano lessons never enabled me to play two notes at
once so there is no way I can hear the polyphony, which is kind of the whole
point.  What would be great is a CD where some generous soul has collected
performances of the examples given in the text.  Is there such a thing?

Lacking a companion CD, would anyone care to volunteer to answer my late
night phone calls and play examples over the phone for me? :-) Any other
suggestions on learning/hearing music theory for the dexterity impaired?

P.S. As per r.m.c suggestion I just got the Horowitz/Toscanini Tchaikovsky's
     First Piano Concerto.  Wow!  They certainly don't dally around.


--
Douglas Surber             "Would you rather debug at
Lockheed                    compile time or run time?"
Houston, TX                      --Michael B. Feldman
From: ceb@dbrus.Unify.Com (Caroline E. Bryan)
Newsgroups: rec.music.classical
Subject: Re: Mozart, Tourettes and Spelling.
Date: 6 Jan 93 20:54:33 GMT
Organization: /usr/lib/news/organization

In article <215190003@hpcvra.cv.hp.com> chrisr@hpcvra.cv.hp.com (Chris Robson) writes:
>I read an article in a paper recently that suggested that Mozart may have
>been a sufferer of Touret's (sp?) syndrome (as some people here have also
>said of Huenter Kradaken). The evidence cited was the scatalogical nature
>of some of his letters and some of his reported behaviour. It was also noted
>that Tourets syndrome is also often associated with some deep creative ability.
>Is this theory respectable or is it more Amadeus tosh?

If Wolfgang inadvertantly wrote a word in a letter that he did not intend to
write, he could have crossed it out.  If he left it there, then either he
wrote it deliberately or the presence of the word in its location didn't
bother him.  In either case the result points to the fact that Wolfgang prob-
ably did NOT have a form of Tourette's Syndrome that affected his *writing*.
It's my understanding that a sufferer from Tourette's Syndrome utters sounds
involuntarily; and that these sounds include obscenities IF THE SUFFERER RE-
GARDS THEM AS UNACCEPTABLE IN ORDINARY CONVERSATION.  If Wolfgang allowed ob-
scenities to stand in his letters instead of crossing them out, it indicates
that he considered them acceptable in ordinary conversation.  If he had had
Tourette's Syndrome, therefore, it would have been unlikely that he would
have uttered these acceptable words involuntarily.

I suspect it's a case of the "Mary Poppins" syndrome.  Some people can't
abide the thought of someone they admire being less than perfect in every
way.  If trusted contemporary sources reveal what these people consider a
flaw, they scurry desperately to find a way to explain the flaw away:  "he
wasn't foul-mouthed, he had Tourette's Syndrome and couldn't help it", or to
turn the flaw into an advantage.  The Mary Poppins Syndrome may therefore ex-
plain things like the vehement denial of sources indicating Wagner may have
been anti-Semitic (or, for other admirers, that he might not have been); an
insistence that Mahler was great *because* he was insane, or because he com-
posed while battling insanity, and that other composers were/are lesser
lights because they were/are sane; and so on.


Carrie		ceb@rechenau.unify.com	x6244
+-------------------------------------------------------------------------+
| "Of life the mingled wine and brine I sit and sip pipslipsily." - Anon. |
+-------------------------------------------------------------------------+
Newsgroups: rec.music.classical
From: 911087e@axe.acadiau.ca (JOHN ANTHONY ENZINAS)
Subject: Re: Anyone heard of Huenter Kradaken?
Organization: Acadia University
Date: Wed, 6 Jan 1993 20:22:28 GMT

In article <1993Jan6.181346.9696@mnemosyne.cs.du.edu> jfurr@nyx.cs.du.edu (Joel Furr) writes:
>>       I think he's on a Trivial Pursuit card.  The question's about a
>>composer who later became a zoologist.  I won't get it wrong anymore!

>Another little-known fact about Krakaden is that his speciality in zoology
>was lemur-training.  Before his death he was training some Ringtailed
>Lemurs to play the works of Mozart on miniature grand pianos.

in the words of my best friend:

"yah, Right."

--johnny vague
Newsgroups: rec.music.classical
From: clavazzi@nyx.cs.du.edu (The_Doge)
Subject: Re: Anybody heard of Gliere?
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: Tue, 12 Jan 93 04:09:12 GMT

In article <3940067@hpcc01.corp.hp.com> zornow@hpcc01.corp.hp.com (Claudia Zornow) writes:
>Sure I've heard of Gliere.  Most concert bands I've been in
>have played his "Russian Sailors' Dance" at some time or other.
>(It may be a transcription of a work for orchestra; I'm not sure.)
>
	Specifically, it's a transcription of an excerpt from his score for
"The Red Poppy" ballet (another triumph of Socialist Realism, as I recall).
	Your post motivated me to go upstairs and rummage about in the "black
plastic with a hole in the middle" section of the Musical Software library,
where I discovered a 1972 recording (by Ormandy and the Philadelphians) of
Gliere's Symphony No. 3, Op. 42 ("Ilya Murometz").  It's not so much a 
symphony as a collection of four tone poems describing various events in the
life of its titular hero in considerable detail.  Even with Ormandy's editing,
the "symphony" runs close to an hour and is filled with the sort of semi-
exotic orchestral color and romantic wretched excess that characterizes the
work of composers who managed to stay alive after the October revolution and
stay in favor with the Soviet regieme.
	Ormandy and company sure play it well, though.....
The_Doge
ObQuote:	"Ideas in modern Russia are machine-cut blocks coming in
		solid colors; the nuance is outlawed, the interval walled up,
		the curve grossly stepped."
				-- Vladimir Nabokov
From: rfriedel@csd4.csd.uwm.edu (Ronald J Friedel)
Newsgroups: rec.music.classical
Subject: Re: Hvorostovsky and Ainsley (was Re: My Christmas CDs)
Date: 12 Jan 1993 01:21:13 GMT
Organization: Computing Services Division, University of Wisconsin - Milwaukee
NNTP-Posting-Host: 129.89.7.4

In article <C0p2pM.LpL@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <215190004@hpcvra.cv.hp.com> chrisr@hpcvra.cv.hp.com (Chris Robson) writes:
>
>>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?
>>He's recorded some Handel.  "Saul" comes to mind, though I may have it
>mixed up with another.
>
>He's one of the 4 tenors on the glorious Hyperion recording of Vaughan
>Williams' glorious "Serenade to Music" for 16 solo voices and orchestra.
>
Jon, which verse does John sing?  I assume it is in the paragraph starting
with "...Look how the floor of heaven..."

This Vaughan Williams CD is a favorite.  I especially enjoy the "Five
Mystical Songs" with Thomas Allen as the solo baritone.

>Jon Alan Conrad

Ron Friedel



-- 
Ron Friedel
GeoSciences  UW-Milwaukee
rfriedel@csd4.csd.uwm.edu

Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Best CD of Mussorgsky "Pictures ..."
Organization: Morgan Stanley & Co., New York, NY
Distribution: na
Date: Wed, 6 Jan 1993 16:29:03 GMT

In article <1ie155INNja4@gap.caltech.edu> mrad@ugcs.caltech.edu (Michael Radford) writes:
>apter@fid.morgan.com (Steve Apter) writes:
>
>[on Pictures From an Exhibition] 
>>The absolute hands-down best piano version is Sviatoslav Richter's
>>on Philips.
>
>Absolute hands-down?  Try Mikhail Pletnev on Virgin.
>

Haven't heard the Pletnev recording yet.  I imagine that he plays
in the "hands-down" position as well.

Steve,

Intemperate in politics, music, and neckties.


Newsgroups: rec.music.classical
From: gerritse@sci.kun.nl (Bart Gerritse)
Subject: Re: Schubert recommendations
Organization: University of Nijmegen, The Netherlands
Date: Mon, 4 Jan 1993 13:16:46 GMT

Steven Chung:

>>Any recommendations on recordings of Schubert's two piano trios and his
>>Fantasia D934?  I've only seen Kremer's recording of the Fantasia, and I'm
>>not particularly a fan of his.

Francois Velde:

>For the piano trio no. 1, Thibaut-Cortot-Casals is outstanding.
>For both, I rather like the Beaux-Arts Trio.

I completely agree. The Thibaut-Cortot-Casals performance is on a
EMI Reference disc together with the fantasie D934, by Adolf Busch and
Rudolf Serkin. The performances are from the 1930's but sound well for the
time. If you like the pieces you must hear this one! The Beaux Arts trio is
a good modern choice for the trio's (on 2 mid-priced Philips discs). Heifetz
has recorded the fantasie (on RCA mid-price, with Brahms piano quartet op.
60 and Beethoven string trio op. 9 (?)). I like it.

Bart Gerritse
From: cysk@alpha.smi.med.pitt.edu (Christopher Y.S. Kim)
Newsgroups: rec.music.classical
Subject: Hummel, Op.11
Date: 13 Jan 93 04:03:26 GMT
Organization: Medical Informatics, Pittsburgh, PA USA

In reply to the person asking about Hummel's Rondo, Op.11.  The only
version I've come across in a rerelease by Vanguard Classics OVC 4033
called "The Virtuoso Piano - Music from the Golden Age of the Keyboard"
featuring Earl Wild as the pianist.  It and the other arrangements are a
fascinating collection of virtuosity.

Chris Kim
Organization: University of Maine System
Date: Tuesday, 5 Jan 1993 11:16:14 EST
From: Cheryl Lynn Lavertu <LAVERTU@MAINE.MAINE.EDU>
Newsgroups: rec.music.classical
Subject: Re: Anyone heard of Huenter Kradaken?
 <1993Jan5.093010.13099@netcom.com>

I can't remember the name of the piece with the solo bell ringer,
but it is wonderful.  Kradaken is one of the composers listed
in the syllabus in my upcoming music appreciation class.  If
I get the name of the piece, I'll be sure to share it.

I didn't realize he went into zoology.  His love of nature is
well-known, but I didn't know he decided to make it a career.

From: chrisr@hpcvra.cv.hp.com (Chris Robson)
Date: Tue, 5 Jan 1993 21:34:55 GMT
Subject: Mozart, Tourettes and Spelling.
Organization: Hewlett-Packard Co., Corvallis, OR, USA
Newsgroups: rec.music.classical

I read an article in a paper recently that suggested that Mozart may have
been a sufferer of Touret's (sp?) syndrome (as some people here have also
said of Huenter Kradaken). The evidence cited was the scatalogical nature
of some of his letters and some of his reported behaviour. It was also noted
that Tourets syndrome is also often associated with some deep creative ability.
Is this theory respectable or is it more Amadeus tosh?


			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
Newsgroups: rec.music.classical
Subject: Re: Saint-Saens' Organ Symphony
From: <MHUGHES@MIAMIU.BITNET>
Date: Thursday, 7 Jan 1993 11:44:31 EST
Organization: Miami University - Academic Computer Service

In article <1993Jan5.175041.15300@spang.Camosun.BC.CA>,
dbarker@spang.Camosun.BC.CA (Deryk Barker) says:
>
>blom@husc15.harvard.edu writes:
>: Does anyone have any (preferably DDD) CD recordings of Saint-Saens' Organ
>: Symphony (No. 3) to recommend?  I'm not a regular here, but I think I       r
>remembe
>: some discussion a while back.  Sorry if this question is too commonly asked.
>
>BPO/Levine. DG.

The new Michael Murray/Royal Philharmonic/Christian Badea on Telarc is
another fine choice.

Mike Hughes
From: fernande@cps.msu.edu (Jose Roberto Fernandez)
Newsgroups: rec.music.classical
Subject: Musical term query
Date: 10 Jan 93 19:42:43 GMT
Organization: Dept. of Computer Science, Michigan State University
NNTP-Posting-Host: atlantic.cps.msu.edu
Originator: fernande@atlantic.cps.msu.edu

Is there a word/term that refers to the ability to play some piece
of music just by hearing it?  If so, what is it?
-- 
Jose Roberto Fernandez
fernande@cps.msu.edu
Computer Science
Mich. St. Univ.
From: freed@ccwf.cc.utexas.edu (G. Freed)
Newsgroups: rec.music.classical
Subject: Re: Vocal Concertos
Date: 9 Jan 93 11:05:32 GMT
Organization: The University of Texas at Austin, Austin TX

Would you count a concerto for chorus?  at least I think that was
what it was called...I have a record of a piece perhaps not even
released here (I bought it in Moscow) by Shnitke called something
like that, but I'm afraid I can't describe it really.  Upon cursory
listenings to this and other Shnitke recordings I discovered that I
don't much like the composer so the record sits in a corner.

Newsgroups: rec.music.classical
From: lungtt@gus.ecn.purdue.edu (Terence T. Lung)
Subject: Re: Musical term query
Organization: Purdue University Engineering Computer Network
Date: Wed, 13 Jan 1993 04:29:07 GMT

>Speaking of playing by ear, I have a theory based on personal ability (or 
>lack of) that musos who play well by ear are frequently poor sight-
>readers off written music, particularly keyboard music.  Is this  
>a widely held opinion or is this not necessarily true?  I know of a number 
>of professional level jazzmen who claim not to be able to read at all.
>
>Ross

It is often true.  But I think there are enough exceptions to bar
the validity of this theory.

I know musos that are exceptions from both sides.  Some that played
extremely well by ear, but eventually picked up the skills of quite
excellent side-reading.  On the flip side, I know of musos who have
sight read very very well, who picked up the skills of blues, if you
want to call it, equally well.

I think I belong to the latter group.  I think I can sight read well
enough to boast about it.  Then in recent years, I've found many
occasions to develop and exercise a skill for improvizing (sometimes
just plain fooling around in my case).  But here's the rub.
I feel that my blues is severely limited to hacking out stuff to
only the "styles" that I'm most familiar with.

On a side note, I was amazed to hear that Pavarotti doesn't read music.  
Is this true?  Doesn't he or can't he?

Terence
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Composer's skulls
Organization: Morgan Stanley & Co., New York, NY
Date: Mon, 11 Jan 1993 23:08:56 GMT

In article <L6g9wB3w165w@student.business.uwo.ca> r4smith@student.business.uwo.ca (Richard Smith) writes:
>In "Perfect Pitch" by Nicholas Slonimsky, the author talks about his 
>photograph of J.S. Bach's skull but doesn't say how he came by it. 
>Anybody know?
>
>By the way "Perfect Pitch" is an absolute joy to read. As you all 
>probably know from reading Baker's Dictionary, Slonimsky is one of the 
>great living masters of English prose style. Kinda reminds me of Nabokov 
>(another amazing English stylist who was a Russian expat. How do these 
>guys do it?)


1.  Russian is harder than English.

2.  The Russian language does not exist; they're all native
    English speakers who "pretend" to speak "Russian" when
    they think we're listening.


>
>r4smith@student.business.uwo.ca (Richard Smith)
>Western Business School  --  London, Ontario
From: ucap22w@ucl.ac.uk (Martin S T Watts)
Newsgroups: rec.music.classical
Subject: Re: greatest conductors: why?
Date: 6 Jan 93 11:22:16 GMT
Distribution: rec
Organization: Bloomsbury Computing Consortium

dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:

>alexander.inglis@canrem.com ("alexander inglis") writes:
>: To: dbarker@spang.Camosun.BC.CA (Deryk Barker)
>: 
>:   >: Mahler First, and on and on....  Someday I hope to indulge myself with
>:   >: his BSO Mahler Ninth.  I first have to be able to justify owning a third
>:   >: copy of that work, though.
>: 
>: DB>No justification required. I own 17 versions....{
>: 
>: Now I know why you went into Computer Sciences ... to acquire the skills
>: to catalogue all that Mahler! <g>

>Not to mention to 50+ Eroicas....

Do you not think, Deryk, that 50+ Eroicas is ever so *slightly* self-indulgent?
I mean, how do you possibly find the time to get to know them all properly, or
even most of them. I thought I was being fairly extravagant owning four, and any
*one* of them would keep me happy for a long while, such is the quality of the
music. None of my business really, admittedly, but I'd be interested to know,
since you proffer the information.

Cheers,
Martin Watts.
Newsgroups: rec.music.classical
From: rons@quads.uchicago.edu (Josh Ronsen)
Subject: Re: Cage review
Reply-To: rons@midway.uchicago.edu
Organization: University of Chicago
Date: Sat, 9 Jan 1993 22:41:30 GMT

	

				musiC
				  thAt has
				    Got
				to bE heard!



	-Josh Ronsen
	rons@midway.uchicago.edu
From: yedid@CAM.ORG (Gabriel Yedid)
Newsgroups: rec.music.classical
Subject: Glagolitic Mass recommendations
Date: 6 Jan 93 19:55:16 GMT
Organization: Champlain Regional College, St-Lambert QC  CANADA


     This message is for Jeffery Bannister, who wanted to know about
recordings of Janacek's Glagolitic Mass:
>
>
Czech Philharmonic/Mackerras/Denon (Japanese liner notes only)
Czech Philharmonic/Mackerras/Supraphon (different soloists and organist)
Atlanta Symphony/Shaw/Telarc (this is the one I have; highly recommended)
Montreal Symphony/Dutoit/London (not yet released)
London Symphony/Tilson Thomas/Sony (BIG liner book)
Birmingham Symphony/Rattle/EMI
>
>
Cheers,
>
>
Gabe Yedid (yedid@champlain.cam.org)
Newsgroups: rec.music.classical
From: terjer@ifi.unit.no (Terje Rydland)
Subject: Re: Janacek
Followup-To: rec.music.classical
Organization: IfI, UNIT-AVH
Date: Thu, 7 Jan 93 08:17:10 GMT

In article <1993Jan6.164534.3227@fid.morgan.com>, apter@fid.morgan.com
(Steve Apter) wrote:
> 
> In article <1993Jan6.110115.2677@maths.tcd.ie> bannistr@maths.tcd.ie (Jeff Bannister) writes:
> >Anybody any recommendations for recordings of the Glagolytic
> >Mass?
> >
> >Jeffrey Bannister.
> 
> The absolute hands-down winner is, of course, Mackerras on Supraphon.
> The absolute hands-down winner is, of course, Ancerl on Supraphon.

I agree absolutely( with a slight preference of Ancerl - if only the 
sound was better). I have both.

Terje Rydland
Dept. of Informatics, UNIT, Trondheim, Norway
Internet : terjer@ifi.unit.no
AppleLink: NOR0103
Tlf : +47-7-591845
Fax : +47-7-591733
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Stockhold Philharmonic Orchestra
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 7 Jan 1993 19:38:06 GMT

I should add to the previous post that the Beethoven 9 montage
occupies a single track.  Idiotic!




Newsgroups: rec.music.classical
From: pkbockus@gsbphd.uchicago.edu (Keith Bockus)
Subject: French Baroque Chamber Music
Organization: University of Chicago Computing Organizations
Date: Mon, 4 Jan 1993 17:57:00 GMT

Since Tower Records storewide sale, is just a week or so
away, it's time to make up my shopping list and I'd like
to solicit your help.  I'm looking to expand my collection
of French (and perhaps Italian) baroque chamber music.
I've got some Rameau, Marais, Forqueray, and Leclair.
For the Italians, I only have the standard Corelli.
Who should I be seeking out?

Many thanks.

Keith Bockus   
Newsgroups: rec.music.classical
From: srgcraf@grace.cri.nz (Ross A Fletcher)
Subject: Re: Musical term query
Organization: Industrial Research Ltd
Date: Tue, 12 Jan 93 23:45:58 GMT

In article <C0ntJI.4xJ@mach1.wlu.ca> brea9430@mach1.wlu.ca (breadner ken u) writes:
>From: brea9430@mach1.wlu.ca (breadner ken u)
>Subject: Re: Musical term query
>Date: Sun, 10 Jan 1993 22:38:05 GMT
>In article <1ipu7jINNddm@msuinfo.cl.msu.edu> fernande@cps.msu.edu (Jose Roberto Fernandez) writes:
>>Is there a word/term that refers to the ability to play some piece
>>of music just by hearing it?  If so, what is it?
>
>Stupid, I know, but I've always thought this was called "playing by ear".
>I don't know of any other term...

Speaking of playing by ear, I have a theory based on personal ability (or 
lack of) that musos who play well by ear are frequently poor sight-
readers off written music, particularly keyboard music.  Is this  
a widely held opinion or is this not necessarily true?  I know of a number 
of professional level jazzmen who claim not to be able to read at all.

Ross
"Rules are made for the guidance of wise men and the obedience of fools"
From: kelsey@casbah.acns.nwu.edu (chris kelsey)
Subject: Re: French Baroque HARPSICHORD Music
Organization: Northwestern University, Evanston Illinois.
Date: Wed, 6 Jan 1993 09:40:55 GMT

In article <1993Jan5.201735.20678@jhunix.hcf.jhu.edu> 
        velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:


>Harpsichord music:

>Jean-Baptiste Rameau (1683-1764): the greatest probably. I can only recommend 
>	the recordings by William Christie, which are astounding: elegant,
>	sensitive, virtuosic at times, forceful when needed. Beautiful. Also,
>	Olivier Beaumont has begun (finished?) a complete recording, and he
>	is very good too.

Christophe Rousset's 2-CD complete recording of Rameau's harpsichord works
won the 1992 Gramophone Baroque award -- wonderfully played (and some of
the best liner notes around!).  L'oiseau Lyre 425 886.


>Francois Couperin (1668-1733): lots of pieces, grouped in Ordres. I am not as 
>	familiar with them. I think Blandine Verlet, a very good harpsichord-
>        ist, has recorded them all. 

Though recorded in the early '70's, Ken Gilbert's set of 10 disks sounds
as clean and fresh as any new digital recording!  The 4 books are economically
available on harmonia mundi's musique d'abord mid-priced line.  Books 1
(ordres 1-5) and 2 (ordres 6-12) are three disks each; books 3 (13-19) and
4 (20-27) are two disks each.  There's endless variety and wonderfully 
spirited playing here.  (Gilbert is "the master" of french harpsichord...)
Harmonia Mundi 190351.53, 190354.56, 190357.58, 190359.60.

> Rousset and Christie have recorded l'Apotheose de Lulli, for 2 harpsichords.

A personal favorite -- as "filler" on this disk you'll find a 2 harpsichord
allemande from the 9th ordre.  it's a knockout -- and for those who think
harpsichords are whiny and wimpy, watch out!  this will knock your socks
off and wake you faster than a pot of brighto coffee...  Har. Mun. 901269.

>Louis Couperin : uncle of Francois. Gustav Leonhardt has some pieces on a
>	Philips recording.

Louis isn't as interesting as Francois, but for an economical and pleasant
introduction:  Leonhardt on Deutsche Harmonia Mundi mid-priced Editio
Classica 77058.  

.
Newsgroups: rec.music.classical