HDTenEightyP/NetNews huggingface dataset:
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Funeral music?
Organization: School of Computer Science, Carnegie Mellon
Distribution: rec.music.classical
Date: Sat, 5 Sep 1992 17:48:32 GMT

In article <1992Sep4.113501.8659@vax.oxford.ac.uk> ams@vax.oxford.ac.uk writes:
>In article <JWA.92Aug31194822@vipunen.hut.fi>, jwa@vipunen.hut.fi (Jyrki J Wahlstedt) writes:
>> 
>>   I hope this doesn't sound morbid, but:
>> 
>>   There have been many requests for wedding music. It just came to my
>>   mind, that on listening to one piece of music sometimes ago, I
>>   caught myself thinking: "This is music I would like them play in
>>   my funeral."
>> 
>>   Has anyone else had thoughts of same kind? Please email me your

>> !	Jyrki Wahlstedt

I tried to e-mail but couldn't so:
My teacher has played the slow movement of the Marcello Oboe Concerto at
funerals.  
I have played slow movements from Handel Oboe sonatas.
I think the slow movement of the concerto for oboe and violin by Bach would be
a great piece because of its sheer beauty.

Harold Smoliar
hsmoliar@db1.speech.cs.cmu.edu
Newsgroups: rec.music.classical
From: swartz@fraser.sfu.ca (Norman Swartz)
Subject: Moses und A(a)ron
Summary: Was Schoenberg triskaidekaphobic?
Keywords: Schoenberg, opera, Moses
Organization: Simon Fraser University, Burnaby, B.C., Canada
Date: Sat, 12 Sep 1992 21:38:16 GMT

I seem to recall reading a number of years ago that Arnold
Schoenberg was triskaidekaphobic, and hence on his noticing that
there were thirteen letters in "Moses und Aaron" changed the
title to "Moses und Aron".  Can any of you confirm this with an
explicit citation (in a biography or some other authoritative
source)?  Thanks.
==========================================================================
Professor Norman Swartz   |  e-mail (via Internet): norman_swartz@sfu.ca
Department of Philosophy  |  e-mail (via Bitnet):   swartz@sfuvax
Simon Fraser University   |
Burnaby, B.C.             |  fax:  (604)-291-4455
Canada V5A 1S6            |
==========================================================================


Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel (x2025))
Subject: Re: Stokowski
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Distribution: usa
Date: Wed, 9 Sep 92 16:02:36 GMT

In article <4eoHqB2w164w@sys6626.bison.mb.ca>, al@sys6626.bison.mb.ca (Haus Der Luge) writes...

> 
>arrangement of Debussy's "La Cathedrale Engloutie" (From the Piano 
> 
>Could anybody recommend a superior version of this piece performed (as it 
>was written) for the piano?  There are many versions available and I 
>wonder if there might exist a 'definitive' interpretation.

I'm always a little reluctant when people ask for a _definitive_ 
recommendation, I mean, how would YOU know it's definitive, ultimately?
I have no problem recommending a FIRST recording for you, and you should
go from there.  Try the Michaelangeli Debussy piano music. 


Ron
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Here Comes the Bride NOT
Date: 5 Sep 92 16:52:34 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Sep5.014034.24897@infodev.cam.ac.uk> gjm11@cus.cam.ac.uk (G.J. McCaughan) writes:
>In article <5373@blue.cis.pitt.edu.UUCP>, genetic+@pitt.edu (Dr. Dave) writes:

>> These are all quite heroic in tone, not to say "pompous".  If you're looking
>> for something a bit more laid back, you might consider something like the Air
>> (in F) from Haendel's Water Music.  This would make a nice pair with the bit
>> from the Fireworks music that Mike suggested as a recessional, or you could
>> pair it with the movement of the Water music whose name always escapes me, 
>> but which begins (transposed) "C - F - G - A F - G A F G c - ..." (where
>> lower case denotes higher octave).

>It's the "Bourree", with an acute accent on the first "e".

Actually, it's the "alla Hornpipe" from the D major suite.

Roger
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Beethoven's 10th. Symphony
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Thu, 10 Sep 1992 17:00:55 GMT

In article <00960672.DA715FE0@vms.csd.mu.edu> 6145goldino@vms.csd.mu.edu writes:
>I seem to recall hearing on the radio several years ago an orchestral version
>of a reconstruction of the unfinished manuscripts for Beethoven's 10th
>symphony.  It did sound like Beethoven, and it sounded pretty good, though I
>admit to not really being able to appreciate most concert music except after a
>handful of hearings.  My question -- who did the reconstruction?  

Barry Cooper.

>Is the recording available?  

Yes.  EMI, I think.

>And what is the consensus of musicologists on this? 

That it's a crock.  Robert Winter (himself a leading student of 
Beethoven's sketches) demolished Cooper's work on scholarly grounds
a few years ago.  On musical grounds, a few listenings will convince 
you that it has nothing to do with Beethoven's style in his last years.

Moreover, there are no "unfinished manuscripts"  for this piece.
There are sketches.

>(Opinion is still divided on Cooke's Mahler's 10th, though I take it that the
>manuscripts for this are much fuller.)

Indeed; there's a short score for much of the symphony.

>     (Now if only more manuscripts would turn up for Ives's Universe Symphony .
>. . . Ives welcomed people doing whatever they wanted to with his written
>music.)

Even playing it!

Roger


Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Mahler 6
Organization: Visual
Date: Tue, 15 Sep 92 17:43:45 GMT

Rob Brooks asks for recommendations for Mahler Sixth recordings.

A lot of people have mentioned the DG Bernstein, and I agree, except
for the fast tempo he uses in the first movement.  

Nobody has mentioned the Horenstein on Unicorn.  This is my own
favorite.  The sound quality is 60's analogue, good but not great,
and the orchestra is sometimes not totally "on", but as an 
interpretation it seems to transcend the sum of its parts.  

The Karajan is also very good.  

Anyone like the Rattle?

Rob
From: TW@UMAB.BITNET (Tom Williams)
Newsgroups: rec.music.classical
Subject: Re: Mahler's 5th Symphony by Solti and remastering CDs
Date: 11 Sep 92 16:41:09 GMT
 <Bu7yzs.E7v@news.udel.edu> <1992Sep8.011639.9014@cbnewsm.cb.att.com>
Distribution: usa
Organization: University of Maryland at Baltimore

Micheal Siemon write:

> that Solti was not in Chicago till after I left in '67.  I had the
> dubious pleasure of having Martinon as the principal conductor of
> the CSO during my time in the Windy City.
> --


What's the story behind Martinon and the Chicago Symphony?  I've
heard some of the recordings he made with the CSO;  his recording
of Hindemith's Nobilism Visione(pardon my spelling) comes to mind
and was great.

- Tom
Newsgroups: rec.music.classical
From: dbrooks@penge.osf.org (David Brooks)
Subject: Re: oboes (was: violists)
Organization: Open Software Foundation
Date: 13 Sep 92 23:23:06

mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis) writes:

> Shifting to another maligned instrument:

Q. How do you get an oboist to play a sustained A flat?

A. Steal his batteries.
--
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Four more months!  Four more months!
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Newsgroups: rec.music.classical
Subject: Re: Sibelius 2nd symphony
Date: 4 Sep 92 22:30:05 GMT
Article-I.D.: magnus.1992Sep4.223005.14785
Organization: The Ohio State University

I have to agree with Chris Brewster.  Sibelius' 1st and 2nd symphonius were 
patterned very much on the 19th century German tradition.... which, you have to
admit, makes them very listenable potboilers.  The later symphonies, however, 
are very different, as Sibelius explored and developed his own idiom.  The 4th 
is an awesome statement, but not the enjoyable, "understandable" work that the 
2nd is.  One of the great listening experiences of my life was hearing Vladimir
Ashkenazy conduct the 7th in concert several years back.  The performance was 
as close to being transcendental as you could wish!
-- 
=>   Michael J. Valinis   -=+{*}+=-   mvalinis@magnus.acs.ohio-state.edu   <=
+>=> "Censorship ends in logical completeness when nobody is allowed to  <=<+
=>+>=> read any books except the books nobody can read."  - G. B. Shaw <=<+<=
+>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<+
From: singer@apple.com (Dave Singer)
Newsgroups: rec.music.classical
Subject: Re: Last Night of the Proms / words
Date: 8 Sep 92 19:01:42 GMT
Organization: Apple Computer

In article <1992Aug28.172825.8557@vax.oxford.ac.uk>, wilcox@vax.oxford.ac.uk writes:
 
> Land of Hope and Glory, 
> Mother of the Free,
> How shall we extoll thee,
> Who were born of thee? 
> Wider still and wider
> Shall thy bounds be set;
> God who made thee mighty,
> Make thee mightier yet. 
> God who made thee mighty,
> Make thee mightier yet.
> 
> Absolute tosh, which Elgar set (rather than someone else applying the words to
> his perfectly good P&C march) elsewhere.
> 

Not only absolute tosh, but not what Benson wrote or Elgar set, either. (But it is
what's sung, as far as one can tell). You're OK as far as 'born of thee'. As best
as I can recall, one verse goes thus:

Hark! a mighty nation
maketh glad reply;
Lo! our lips are thankful
Lo! our hearts are high.
Strong in faith and freedom
we have crowned our King.

The original is part of the Coronation Ode; he uses the march but tinkers with it
somewhat. It's not note-for-note from P&C.
Newsgroups: rec.music.classical
From: sse@wind.bellcore.com (Samuel S Epstein)
Subject: obscure but good
Reply-To: sse@wind.bellcore.com (Samuel S Epstein)
Organization: Bellcore, Morristown, NJ
Date: Tue, 15 Sep 92 16:03:46 GMT


This is an attempt to start a thread.

Some musical works are little-known but offer as much to the listener
as more popular works. Some of these pieces are by relatively obscure
composers.

What are your favorite musical sleepers? Can you recommend recordings?

I'm not knowledgable myself, but I'll start by mentioning Arriaga's
string quartets. I only know the recording by the Rasoumovsky Quartet
on Ensayo, and I don't know it that well yet. The quartets are sort of
similar to Haydn quartets. I liked them the first time I heard them
and they're still growing on me.
From: f1toyl@uta.fi (Topi Ylinen)
Newsgroups: rec.music.classical
Subject: Anyone know this recording of Don Giovanni?
Date: 7 Sep 92 06:43:04 GMT
Distribution: rec
Organization: University of Tampere, Finland


I recently purchased a cheap mc cassette containing highlights from 
Mozart's "Don Giovanni" with the following cast of singers:
	Don Giovanni - Nicolai Ghiaurov
	Donna Anna - Gundula Janowitz
	Don Ottavio - Alfredo Kraus
	Commendatore - Martti Talvela
	Donna Elvira - Teresa Zylis-Gara
	Leporello - Gerairt Evans
	Masetto - Rolando Panerai
	Zerlina - Mirella Freni
	
	Wiener Philharmoniker / Herbert von Karajan

The recording was technically quite poor (sounded quite mono),
 and von Karajan's approach was not very subtle or lyrical, but overall the 
performance was powerful and some of the singers were at least as convincing
as "sophisticated" Italian singers one usually hears perform this opera.
Von Karajan's German approach makes the Banqueting Scene a one-of-kind
experience, almost brutal with all that Sturm-und-Drang, but the suberb 
singing of Gerairt Evans and Nicolai Ghiaurov combined with Martti Talvela's
booming black Commendatore secure the whole.

If anyone knows anything about this recording (a live from the Festival at
Salzburg), if the complete opera has been issued and possibly available
anywhere on CD, please contact me via email. Much appreciated.
-- 
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
$		...::::  TOPI YLINEN  ::::...	              	         $
$			::::::::::::				         $
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
Newsgroups: rec.music.classical
From: bryan@netcom.com (Bryan Higgins)
Subject: Re: rec.music.classical FAQ
Date: Sun, 06 Sep 92 08:08:50 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

baldwin@csservera.scs.usna.navy.mil (J.D. Baldwin) writes:

>Hey, I'm no expert, but didn't [The SHining] contain the middle movement
>of the "Concerto for Orchestra"?  I don't know what is meant by "Music
>for Strings"--maybe it's an alternate name for the same piece, maybe
>it's another piece I don't know that was also in the film.  Even if it's
>the same, it's probably easier to find as "Concerto for Orchestra."

It's from _Music for Strings, Percussion, and Celesta_, not the _Concerto for
Orchestra_.
-- 
Bryan Higgins, Berkeley, California  (bryan@netcom.com)
From: paul@cgh.cgh.com (Paul Homchick)
Newsgroups: rec.music.classical
Subject: Re: GHOSTS OF VERSAILLES
Date: 15 Sep 92 13:24:01 GMT
Distribution: na
Organization: Chimitt Gilman Homchick, Inc.

Regarding the PBS broadcast of "Ghosts.."

             BRAVO!!  BRAVO!!

I heard the Texaco radio broadcast last January, but it is obvious
that this was a production to be SEEN.  I envy those who were able to
attend a performance.
-- 
Paul Homchick                    :UUCP     {rutgers | uunet} !cbmvax!cgh!paul
Chimitt Gilman Homchick, Inc.    :Internet                       paul@cgh.com
1111 West DeKalb Pike, Suite 101 :MCI                               PHOMCHICK
Wayne, PA  19087-2179            :GEnie                              HOMCHICK
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: Mahler 6 (was Re: Du Pre recital)
Date: 14 Sep 92 10:23:54 GMT
Organization: St. Andrews University, Scotland.

In article <1992Sep13.195113.17582@cmcl2.nyu.edu> tony@cns.nyu.edu writes:
>Three very recommendable Mahler 6's are (1) Abbado, on mid-price DGG, excellent
>analog sound, very tight and well-modulated performance; I also still like
>the (2) Solti/Chicago recording of the early '70s. This was one of the first
>Decca Chicago recordings and I don't think the engineers quite had the
>measure of the orchestra and hall yet, but the performance is remarkable
>for its drive and power. I believe this one is still full-price, but I'm
>not certain. Finally, there is (3) Szell's live 1966 Cleveland performance,
>now re-released on one bidget CD by Sony. There are some live-performance
>flaws and perhaps a hint that Szell is a little embarrassed by some of the
>more excessive moments in the score, but there is some beautiful playing and
>a nice lean sound to this recording that I enjoy.
>
>---
>					Tony Movshon
>
Have you heard Bernstein's second performance on DG? A stunning performance!
Karjan's is also not at all bad, esp. the 3rd movt, very beautiful indeed, but
not overall with as much as a nightmare as Bernstein.

Gavin Ramsay
From: ams@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Funeral music?
Date: 4 Sep 92 10:35:01 GMT
Distribution: rec.music.classical
Organization: Oxford University VAX 6620

In article <JWA.92Aug31194822@vipunen.hut.fi>, jwa@vipunen.hut.fi (Jyrki J Wahlstedt) writes:
> 
>   I hope this doesn't sound morbid, but:
> 
>   There have been many requests for wedding music. It just came to my
>   mind, that on listening to one piece of music sometimes ago, I
>   caught myself thinking: "This is music I would like them play in
>   my funeral."
> 
>   Has anyone else had thoughts of same kind? Please email me your
>   favourites and I post a summary later on. I could use nearly all of
>   Bach, particularly his cantatas, works for solo string (violin, cello),
>   for organ. Some works from other composers also.
> 
>   PS. The piece I was listening, if someone wants to know, was the
>       last movement of Mahler's 9th symphony.
> --
> !
> !	Jyrki Wahlstedt

The Croft Burial Service. Very simple. Very beautiful. Has the practical merit
of actually being funeral music, so philistine clergy can't complain. The only 
problem is that you need a decent choir that can cope with singing a capella, 
and as spacious an acoustic as you can find (but if you are able to get an 
orchestra in to play Mahler, this ought to be a doddle).

Oh yes, and you would have to be interred according to the rites of the English
Book of Common Prayer. I don't think that either Croft or Cranmer thought that 
a Finnish version would ever be necessary, so there isn't one.

Michael.
Newsgroups: rec.music.classical
From: eric <eschramm@magnus.acs.ohio-state.edu>
Subject: Verdi & Don Giovanni
Organization: The Ohio State University
Date: Mon, 7 Sep 1992 03:50:11 GMT


Somewhere in Volume 1 of his Verdi survey, Julian Budden footnotes an 
essay by Pierluigi Petrobelli, "Verdi e Don Giovanni." I've not seen 
the article, and I do not know if it's been translated into English  
(although at least as of 1989 Princeton University Press was scheduled 
to bring out a collection of Petrobelli essays--after that I lost 
track of it).  In any case, though I don't know exactly what he 
discusses in the article, I wonder if it's been widely noted that a 
very intriguing, though circumstantial, case could be made for arguing 
that Verdi's favorite opera (other than any of his own) was Don Giovanni. 
In several of Verdi's works there are elements that parallel those in 
Mozart's opera. For example: 


	At the beginning of the opera, a nobleman steals into the bedroom
 	of a young noblewoman; there is an argument; her father appears;
	words are exchanged; and the old man is killed. 
	[La Forza del Destino]

	At the end of the opera the title character is dragged into the
        nether regions by some mysterious, other-worldly character. 
	[Don Carlos]

	A libertine tries to seduce a noblewoman. 
	[Rigoletto: Act I, Scene 1, with the Countess Ceprano; 
	the music is noticeably Mozartean <imho>.]

	After the title character is killed, the others come on stage to
        ask, "Dov'e?" ("Where is he?") 
	[Macbeth]

	Conspirators wear masks at a party. 
	[Un Ballo in Maschera]

	A nobleman brags to his servant about the ladies he will seduce; 
	his servant tells another character that, whether women are 
        beautiful or ugly, his master goes after them all; at the end, the
        title character is met by "heavenly" characters and specifically
	warned to change his ways. 
	[Falstaff: Act I, Scene 1, Scene 2; Act III, Scene 2]

	A serenade at the window. [Il Trovatore]


Admittedly, some of these coincidences are rather thin, and shouldn't
be swallowed as cryptic "proofs" of Verdi's favorite opera. (It would 
not surprise to find that certain Verdi-Toscanini recordings, when 
played backwards, hint that Luigi Illica was the real librettist 
of Otello and Falstaff.)  My questions are, has a longer list of 
such coincidences been compiled somewhere?  Can you think of any 
other Verdi-Don Giovanni "proofs"?  And did Verdi ever mention his 
opinion of >>Il Dissoluto Punito<< ? 


Eric Schramm
Newsgroups: rec.music.classical,rec.antiques
From: roos@sophia.smith.edu (Bob Roos)
Subject: Need info. on restoring harps
Organization: Smith College
Distribution: na
Date: Mon, 14 Sep 1992 18:43:12 GMT

I'm just passing this along.  If you know of other groups that would be
worth posting this to, please let me know.

    Bob Roos
    roos@sophia.smith.edu

>  Who knows about restoring harps?  I have the opportunity to buy a 65" high
>  concert-style harp made by Lyon & Healy, but it needs extensive work.
>  
>  1.  Is Lyon & Healy a good instument/worth restoring?
>  2.  Are there any technical books regarding restoration of harps that I
>  should have?
>  3.  Any idea of market value for restored or unrestored harp?
>  4.  Suggestions or ideas?  

Please respond ASAP by email to 
droos@hns.com  (Dave Roos)
From: ucap22w@ucl.ac.uk (Martin S T Watts)
Newsgroups: rec.music.classical
Subject: Re: Sibelius 2nd symphony
Date: 7 Sep 92 17:27:30 GMT
Organization: Bloomsbury Computing Consortium

cb@tamarack13.timbuk (Chris Brewster) writes:

>There are those of use who think the second should be retired since it's
>so much weaker (with its unfortunate heart-on-sleeve Tchaikovsky
>influence) than what follows.  Listen to the Sixth conducted by Colin
>Davis.  (I don't mean to be crotchety; I just am.)

There are also those of us who think it rather strange to advise someone to
listen to the 6th when asked for opinions on a recording of the 2nd, as if the
two were written for anything like the same reasons. I also prefer the later
symphonies, but that's not to say the 2nd is without its merits. Do you also
think that maybe the earlier symphonies of Mozart or his violin concertos should
be similarly withdrawn, on the grounds that they are weaker than *his* later
works? I hope not.

Sibelius 2nd gets a rather bad press, on the grounds that it's less
formally innovative than the later works, but surely this is only relatively
so. The first movement is quite adventurous really, and the thematic material
throughout seems to me very imaginative, with some beautiful tunes. Indeed, for
all their other rewards the later symphonies have a distinct lack of melody.

One of the most remarkable aspects of Sibelius' life's work is that each of his
compositions, especially his symphonies, possesses an individual originality 
which is quite rare, even amongst the greatest of other composers. To suggest
that any of the earlier works could be replaced by "new, improved models" seems
particularly nonsensical in his case. But crotchety people do seem prone to
make these types of suggestion from time to time.  :-)

Martin Watts.
From: mikulska@astro.Princeton.EDU (Margaret Mikulska)
Newsgroups: rec.music.classical
Subject: Re: help!
Date: 10 Sep 92 04:24:42 GMT
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Originator: news@nimaster

In article <ZyRTqB4w164w@sys6626.bison.mb.ca> kevin@sys6626.bison.mb.ca (Kevin Scott) writes:
>
>CBC radio has done it again...played something brilliant and didn't give 
>the name of the piece.
> 
>I know this much: The composer's name was Marchek or Marchak or Macek or 
>something like that. It was a small ensemble piece with 3 harpsichords 
>and about five other instruments...

Woodwinds?

>it sounded like it came from the 
>classical period. Hopefully someone will be able to shed some light based 
>on the odd collection of instruments on the track.


Try Vaclav Vincenc Masek ('s' with a "hacek"), a Czech composer
(1755-1831), writing in Classical style.  He wrote a lot of chamber
music for different ensembles; mostly serenades, notturni, suites,
partitas, etc., for winds.  There is also a Concertino for piano 4 hands
and 8 wind instruments, perhaps it was performed on a harpsichord.  Some
of his works were recorded on varous labels, mainly the Czech Supraphon
and the German Baerenreiter (the latter is a publisher, but they also
issue some recordings) - at least in the LP era.

Just a wild guess.


-Margaret
mikulska@astro.princeton.edu
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: 1600 Pennsylvania Ave., musical flops
Date: 11 Sep 92 23:56:08 GMT
Article-I.D.: dscatl.46985
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Sep10.192948.5437@linus.mitre.org> rwilmer@zinka.mitre.org (R. Wilmer) writes:
>Two unsuccessful shows that interest me are ``Carmelina'' by Burton
>Lane and ``Rex'' by Richard Rodgers.

Yeah, I saw 'Rex' on a visit to NY years ago.  Tom Underwood and I
were there with the ASO Chorus for a performance, and in an empty
time-slot decided to see it based on the presence of Rodgers'
name as composer.  It stank.

The pit orchestra, however, stank worse than the show.
Particularly the oboist who was way out of tune and
otherwise sounded like a wounded seagull.


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
Newsgroups: rec.music.classical