HDTenEightyP/NetNews huggingface dataset:
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Re: Busoni's Doktor Faust (was Re: oboe tracks correction)
Date: 6 Apr 92 16:44:44 GMT
Organization: University of Delaware

In article <1992Mar28.010804.19855@nuscc.nus.sg> smoliar@iss.nus.sg (stephen smoliar) writes:

>I was under the impression that Busoni went back to the same puppet-play that
>had inspired Goethe.  There is certainly very little of Goethe in Busoni's
>libretto.  On the other hand, I have never seen a good description of that
>puppet play.

I can think of little if any Goethe in Busoni's opera.  Certainly it
lacks Margarete, who is Goethe's most famous invention.

Busoni seems to have picked and chosen among various source material.
The conjuring up of the demons, for instance, comes from Lessing's
version of the story (a fragment, if I remember right).

>Have you actually SEEN this?  I know the recording well, and enjoy it very
>much.  I'm just curious as to whether or not anyone ever really made it work
>on the stage.  

I have.  Indiana U. Opera Theater did it around 1974.  A very effective
staging designed by the great Max Rothlisberger, stark and sumptuous at
the same time.  All the magical stuff worked very well, as far as I'm
concerned.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: the hi-fi buff thread
Date: Tue, 07 Apr 1992 14:06:11 EDT

During the recent thread about hi-fi equipment I kept quiet since my system
is not exactly state of the art.  In fact, my amplifier has been making
strange noises and my tuner has deteriorated to the point that only one
station comes in, and not very well.  Both are 1969 vintage.

What put me over the edge was that I really want to tape the broadcast of
Fanciulla coming up this weekend, and I knew it would sound terrible.  So
after 23 years of faithful service, my Sony amp and KLH tuner have been
retired.  

The replacement is a Yamaha receiver that generates a lot more power than
the old stuff.  Now the 1969 vintage speakers sound terrific, and I've gone
back to playing LP's, many of which sound *much* better than almost any CD
I own.  Listening to a Quartetto Italiano recording of Beethoven's Op. 127,
I actually heard pages turning and people breathing.  Never heard that
before.  Even 30's mono air-check stuff sounds better now.

I am in the camp that values performance over sound, but I've just moved my
tent a little closer to the other camp.  %^)  Wow!!  What a difference!

Chris Ischay
chrisi@bos.camex.com
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 16 Apr 92 16:17:58 GMT
Distribution: na
Organization: Educational Computing Network

In article <1992Apr16.130415.3377@unx.sas.com> sasghm@theseus.unx.sas.com (Gary Merrill) writes:
>Again, instead of addressing the real issue, you attempt to misdirect
>the argument.  NON-governmental grants do not *coerce* the taxpayer
>into coughing up his bucks.  

What dollars?  The average taxpayer pays something like 70 cents.
at least if you are going to object to taxpayers spending bucks, they
should have to pay at least $1. ;)

You know something, private industry wants the US to collect taxes on
home taping, according to them, to compensate the artists ( yeah right)
for revenues lost by consumers taping their favorite albums from their
friends instead of buying them from a store.  Such a tax would favor the
large record companies (who turn around and buy up the independents that
are producing and recording the more original music) and the (cough-cough)
artists like Madonna, Bruce, and MJ,  just the type of struggling
artists who need funding.

Ah yes, looks like whoever it was was right when he said that in the
U.S. you have socialism for the rich and rugged individiualism for the
poor.

jeff
From: nkulkarn@mipos2.intel.com
Newsgroups: rec.music.classical
Subject: American Composers
Date: 9 Apr 92 00:52:15 GMT
Reply-To: nkulkarn@mipos2.intel.com ()
Organization: Microprocessor Products Group, Intel Corp., Santa Clara, CA

Hello. I would like some information on all American composers
to-date (preferably in chronological order) and their compositions.

I am new to this group, so please excuse if this has been
requested before. Thank you.

- Nitin


                                      ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                                      "BEWARE, EVILDOERS, WHEREVER YOU ARE !!"
                                                      - The Masked Avenger
                                      ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Newsgroups: rec.music.classical
From: hap@scubed.com (Hap Freiberg)
Subject: Re: Good Perf Major Schools?????
Organization: S-CUBED, A Division of Maxwell Labs; San Diego CA
Date: Mon, 6 Apr 1992 21:25:07 GMT

In article <1992Apr2.220533.2572@vax1.umkc.edu> jbarron@vax1.umkc.edu writes:
>what some good, challenging, perf. major degree programs there are at some of
>Jennifer
>and graduate study 

Based on mostly hear-say and old memories, I would you suggest that you
investigate Stanford's program...
                                                                                  
                                                                            
Hap
                                                                         
                                                                        
Newsgroups: rec.music.classical
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: Good Perf Major Schools?????
In-reply-to: jbarron@vax1.umkc.edu's message of 2 Apr 92 22:05:33 CST
Organization: pubs
Date: 7 Apr 92 10:47:14 CDT

Jennifer Barron writes:

   Hello, I am fed up with the conservatory that I am going to and I wondered
   what some good, challenging, perf. major degree programs there are at some of
   the schools in the US... I am interested in strings....cello,  to be specific
   Anyone out there got any good colleges..(not just music colleges, though)

The choice is obvious: Indiana.

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7
From: mls@cbnewsm.cb.att.com (mike.siemon)
Newsgroups: rec.music.classical
Subject: Re: Kurt Weill's "Street Scene" on London
Summary: reconsideration
Date: 14 Apr 92 23:08:02 GMT
Distribution: na
Organization: AT&T

In article <18748@ravel.udel.edu>, conrad@ravel.udel.edu (Jon Conrad) writes:

	<laudatory things about _Street Scene_>

well, Jon's opinion strikes me as something worth setting against my
impression of the City Opera production I saw (perhaps the "flatness"
was not the fault of Weill or his book -- certainly a hypothesis I am
willing to entertain about C.O.).  I'll put my opinion on the back-burner
and keep an ear open for either the recordings Jon and Ray mentioned or
others to come along.

Yet I really did feel that there was a character about this like a lot
of schematic "great art for democracy must use The Common Man" stuff
from the middle of "the American century."  A few of these things, I
suppose _Death of a Salesman_ is the most known/touted of them, seem
to manage to bring off the trick.  But there is so much self-conscious
posturing going on (not that that is new to the musical stage, as the
comments Roger has made about opera seria suggest :-))
-- 
Michael L. Siemon		   "Oh, stand, stand at the window,
					As the tears scald and start;
mls@usl.com			   You shall love your crooked neighbor
standard disclaimer			With your crooked heart."
From: smoliar@hilbert.iss.nus.sg (stephen smoliar)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 17 Apr 92 01:00:26 GMT
Article-I.D.: nuscc.1992Apr17.010026.2128
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Distribution: na
Organization: Institute of Systems Science, NUS, Singapore

In article <1992Apr15.132639.4333@unx.sas.com> sasghm@theseus.unx.sas.com (Gary
Merrill) writes:
>
>If I feel strongly about creating my art, then I might just feel
>strongly enough to support that creation by myself.

I suppose that depends on just what you feel most strongly about.  The creative
efforts which are demanded by fund-raising (and I do not think anyone will
question that they have to be creative as well as labor-intensive) are not
necessarily the same as those demanded by your "art" (whatever that may be).
Indeed, if you really feel strongly about creating your art, then that is where
you want to put the largest portion of your time, interest, and creative
energy.  Any investment of any of these factors in fund-raising means that
they are not being invested in artistic pursuits.

>  It
>might also be necessary for the artist to do *something else* (either
>temporarily or part-time) to suppor the creation of art that he
>can't convince anyone else to support.  
>
The model here is Charles Ives, who build a successful insurance firm while he
was trying to be a composer in his metaphorical garage.  However, lest we think
that Ives had managed to beat the system, we should remember the breakdown
which struck him at the time of the First World War.  The man lived into the
early fifties, but he never composed another note.  So you can put THAT panacea
back on the shelf!
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
From: vance@speech.sri.com (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 14 Apr 92 20:05:21 GMT
	<2179@transfer.stratus.com> <1992Apr14.171110.9438@unx.sas.com>
Distribution: na
Organization: Speech recognition group, SRI
In-reply-to: sasghm@theseus.unx.sas.com's message of 14 Apr 92 17:11:10 GMT


In article <1992Apr14.171110.9438@unx.sas.com> sasghm@theseus.unx.sas.com (Gary Merrill) writes:

   [stuff on comparison of government spending for art vs. death]

   [...]  Unless I am very much mistaken, the
   constitution *requires* our support of the military -- [...]
   So there is an explicit constitutional requirement for military
   support that does not exist for support of the arts.

Hey, you're right -- and I bet the founders would have been really
baffled at the idea of giving Diamanda Galas money to shriek into
microphones.  The NEA shouldn't be implementing modern relativist
versions of "taste" -- we need experts in 18th century American music
and art to decide what the founders would have chosen!

	Vance

PS. :-)
From: kpm8447@tesla.njit.edu
Newsgroups: rec.music.classical
Subject: Music from Excalibur
Date: 8 Apr 92 13:26:51 GMT
Organization: New Jersey Institute of Technology

Does anyone have the Excalibur soundtrack or know which songs are on it?
I've been trying to find it for some time and just recently found out
that it's only available on cassette and is not in production anymore.
I did manage to find two of the pieces from Excalibur on other albums.

1) Carmina Burana: Introduction
   (When the army goes into battle..I think)
   (This is on The Doors soundtrack and is from Orf's opera)

2) Siegfried's Funeral Music and Final Scene (from Gotterdammerung)
   (At the end of Excalibur when the boat crosses the lake)
     (This is on Wagner Without Words)

My question is what are the other pieces on the album and who composed
them.  Since it's hard to track down the original cassette at least I could
compile the songs myself off of other compact discs to create the album.
I originally thought all of the music was composed just for Excalibur
but found out otherwise. 

 - Thanks in advance
 - Kirk
Xref: sparky rec.music.classical:5984 comp.music:2478
From: smaill@aisb.ed.ac.uk (Alan Smaill)
Newsgroups: rec.music.classical,comp.music
Subject: Re: Help, which instrument?
Date: 16 Apr 92 21:29:19 GMT
Organization: DAI, University of Edinburgh

In article <1992Apr16.031416.20786@cunixf.cc.columbia.edu> hyx1@cunixb.cc.columbia.edu (Harry Y Xu) writes:

   roger@phoenix.Princeton.EDU (Roger Lustig) writes:
   > hyx1@cunixa.cc.columbia.edu (Harry Y Xu) writes:
   >
   >>	Can somebody give me advise on which instrument is the easiest to 
   >>learn?  I know the Q might sound stupid, but can't think of better wording.
   >>
   >>	I have no musical potential/intellence.
   >
   >No, seriously, what do you mean by the above?

	   Don't u believe tht somepeople have more musical potential
   than others (due to natural talent and childhood exposure, I guess.) ?
	   Howard Gardner (Psychologist?) suggested 7 independent 
   "intelligences", or talents:
    . . . . .

Probably what is confusing the issue here is that your distinction
between _ability_ and _knowledge_ is not clear.

So, lacking exposure to a subject is not usually thought to mean a
lack of intelligence in that subject (otherwise we could not say
that young children were mathematically intelligent on the basis
of their reaction to a first exposure to mathematics - we 
make allowance for their lack of exposure).

In your case, you seem to have evidence of lack of exposure,
but this  is not at all the same as lack of intelligence .





--
Alan Smaill,                       JANET: A.Smaill@uk.ac.ed             
Department of Artificial           ARPA:  A.Smaill%uk.ac.ed@nsfnet-relay.ac.uk
       Intelligence,               UUCP:  ...!uknet!ed.ac.uk!A.Smaill
Edinburgh University.
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: _The Love for Three Oranges_
Date: 13 Apr 92 19:00:27 GMT
Organization: Princeton University
Originator: news@ernie.Princeton.EDU

In article <1992Apr13.180443.24541@athena.mit.edu> pesetsk@athena.mit.edu (David M Pesetsky) writes:
>In article <1992Apr13.162609.5565@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:
>>In article <1992Apr13.151242.6003@athena.cas.vanderbilt.edu>
>> dkmenser@athena.cas.vanderbilt.edu (Kirk Menser) writes:
>>>I have read that the march from Prokofiev's TLFTO was used as the
>>>theme for a popular television series.  Does anyone know which
>>>series?
>>
>>The FBI, of course!  (On radio, too, I believe.)

>>TRIVIA: what other connection with "classical" music does that show
>>have?  (Easy for some of us...)

>Efrem Zimbalist [JS]r.

>And what about "Hogan's Heroes"?

Too easy.  Werner and Otto.

Now: "Crazy Like a Fox": there's an obvious one, and a tougher one
(connected to the Broadway theater).  Can anyone get both?

Roger
Newsgroups: rec.music.classical,rec.music.misc
From: palmer@uvmark.uucp (Filaman)
Subject: Re: wanted - soundtrack from Star Trek II Wrath of Khan
Date: Thu, 16 Apr 92 16:30:36 GMT
Organization: Vmark Software, Inc.
Keywords: trek khan wrath soundtrack

In article <1992Apr16.022359.658@bronze.ucs.indiana.edu> swcramer@silver.ucs.indiana.edu (The Shadow) writes:
>
>I am looking for the soundtrack to Star Trek II - Wrath of Khan.
>
>At one time I had access to the tape and it was fantastic.  I would
>love to have it again - be it on CD (preferable but I do not think it
>is _on_ CD) or tape.

I found mine at Sam Goody's!
-- 
 _____   _   _       __    _    _    __    _    _     Palmer Chappelle
| ____) | | | |     /  \  |  \/  |  /  \  |  \ | |    VMark Software, Inc.
| __)   | | | |__  | || | | |\/| | | || | | |\\| |    uvmark%palmer@merk.com
|_|     |_| |____) |_||_| |_|  |_| |_||_| |_| \ _|    USRSA Certified Stringer
From: david@xlnt.com (David Johnson)
Newsgroups: rec.music.classical
Subject: Re: Sibelius Violin Concerto
Date: 9 Apr 92 22:12:21 GMT
Organization: XLNT Designs, Inc (XDI)

In article <1992Apr7.020718.15812%mr804321@cs.nthu.edu.tw>, mr804321@cs.nthu.edu.tw (mr80) writes:
|> 
|>   I like Sibelius violin concerto and I wonder why
|> Tchaikovsky violin is one of the 4 greatest violin concertos.
|> I use Sibelus violin concerto to replace it.
|>                                         Wen.

Pardon my ignorance, what are the other three greatest violin concerti?
I can think of what would be considered the four most *popular* violin
concerti but I think it is difficult to say which are the four greatest.

-- 
David Johnson
XLNT Designs, Inc. (XDI)
david@xlnt.com
the hapa haole
(or more precisely the hakka haole)
(or even more precisely, the hapa hakka hapa haole, or h^4)
Newsgroups: rec.music.classical
From: jsh@leland.stanford.edu
Subject: Address for Performers Facsimile
Organization: Stanford University
Distribution: na
Date: Mon, 13 Apr 92 01:57:20 GMT

I recently came across an edition of the Leclair Op. 3 Sonatas for two
unaccompanied violins printed by Performers Facsimile of New York. It's a
wonderful reproduction of the original music as it first appeared in Paris
(complete with cover page and in the original hand-written form). I would like
to obtain a catalogue of their complete library, but unfortunately there is no
address anywhere to be found on the music. Could someone familiar with this
publisher please send me email or post information to this newsgroup as to how
I might contact them? Thanks in advance.

Jim Hahn
Dept. of Economics
Stanford University
jsh@leland.stanford.edu

("Let's get Bizet!")
From: wark@gandalf.think.com (Mark Warkentin)
Newsgroups: rec.music.classical
Subject: Re: What in tarnation is "Vivace" in 3/2 time?
Date: 15 Apr 92 14:54:26
Organization: Thinking Machines Corporation, Cambridge MA, USA
NNTP-Posting-Host: gandalf.think.com
In-reply-to: lacesso@cs.UAlberta.CA's message of Wed, 15 Apr 1992 17:24:29 GMT

In article <lacesso.703358669@slave-lake> lacesso@cs.UAlberta.CA (Winslowe Lacesso) writes:


   Buon giorno, folks!

   A q for the musician types, if they'd be so kind:

   Recently ran across some suites (didn't have $ to pcopy, & don't recall
   composer - probably some obscure Baroque dude) of which some mvmts were
   marked "Vivace" but in 3/2 time. Lots of half notes, so I was willing to go
   with half note = 160 or higher. They were nice tunes (jigs/gigues), but I 
   was frustrated & puzzled. I don't really like reading 3/2; if it is to be
   "Vivace" at a jig pace, why wouldn't it be written as 3/4 or 3/8 (or 6/8) or
   something? Real question: how does one interpret a Vivace in 3/2 time? I have
   a suspicion that 1/2 = 160 is unusual enough that I'm interpreting something
   wrongly. No, I don't have a music teacher to ask. (Have asked former music
   teacher via letter & gotten no reply. Perhaps I should've included some $$.)


Note values are relative: you can find fast music written w/half notes,
slow pieces in 16ths and 32nds, or whatever.  In fact, the tendency has
been over the centuries to us smaller and smaller note durations for the
basic "beat".  The "real" name for the whole note is "breve" from the latin
for "short".  In the middle ages, it really _was_ short.  Chances are, the
edition you're playing from just followed the manuscript notation from a time
when it was more common for a half note to be played quickly.  Many modern
editors will "translate" all the notes for you, making it perhaps a little
less disconcerting.  In short, not to worry, play the "vivace" at a good
clip, and your audience (if any) will know no difference.

--
         #  The opinions expressed are not my own and I disavow #
         #  any responsibility for them whatsoever. Then again, #
         #  my employer isn't responsible for them, either.     #

Newsgroups: rec.music.classical
From: packer@amarna.gsfc.nasa.gov (Charles Packer)
Subject: Re: _The Love for Three Oranges_
News-Software: VAX/VMS VNEWS 1.4-b1  
Organization: Dept. of Independence
Distribution: usa
Date: Wed, 15 Apr 1992 00:36:00 GMT

In article <1992Apr14.231052.16907@cbnewsm.cb.att.com>, mls@cbnewsm.cb.att.com (mike.siemon) writes...
>yep; there is also the odd quirk that because of the tune, the title
>of the show always sounds in my mind as "The FBI in Love and War." :-)


Whoa! Nobody mentioned yet the actual title of the radio program
(this dates me, of course): "The FBI in Peace and War". I loved
the theme when I heard the program as a child in the 1950s,
at least a couple of years before I discovered that it was 
=classical=!
From: young@tellabs.com (Craig Young)
Newsgroups: rec.music.classical
Subject: Re: Best Mahler cds?
Date: 8 Apr 92 13:35:11 GMT
Article-I.D.: tellab5.1992Apr8.133511.1356
Organization: Tellabs, Inc., Lisle, IL

In article <1992Apr3.131945.1980@visual.com> rwh@visual.com (Rob Holzel) writes:
>
>>  I was wondering what your opinions are as to which are the best versions of
>>  the various Mahler symphonys.
>
>1st:  Solti/London Symphony (NOT the Chicago DDD recording) (available
>	in a 2-disc set at mid-price, along with a wonderful reading of
>	the 2nd from the same series -- both versions sound better to
>	me than his later digital retreads.)  Both on Decca.
>
>	If DDD is essential, I hear the new Tennstedt on EMI is awesome.
>	Haven't heard it yet myself, sad to say.

I have the EMI Tennstedt/CSO recording, and it IS an astounding recording. I
have heard the CSO perform this symphony three times, but did not hear the 
concert that this recording comes from. Sound is very good, playing is up
to the usual CSO standards, and the interpretation is very different from
any other recording I have heard of this symphony, but it works.

>5th:  Bernstein/Vienna on DG or Tennstedt/London on EMI.  Accept no
>	substitutes.

I still like the earlier Solti/CSO recording (circa 1968). The playing is as
close to perfect as you will ever hear.
>
>9th:  Giulini/Chicago on DG (mid-price).  I hear the later Bernstein
>	is good.  I don't get the big deal over the Karajan/DG.  

The Giulini/CSO recording of Mahler 9 is a great analog recording of a
great performance and interpretation.
Newsgroups: rec.music.classical
From: carlson@ab24.larc.nasa.gov (Ann Carlson)
Subject:  Kathleen Battle and Cheryl Studer 
Organization: NASA Langley Research Center, Hampton, VA  USA
Date: Thu, 9 Apr 1992 16:51:39 GMT

I finally got a chance to ask my voice teacher about Kathleen Battle and
Cheryl Studer - question of about 2 weeks ago from Richard Wilmer? (maybe?)

Peggy (voice teacher) said it's mostly just a personal preference that she
just *likes* Kathleen Battle's voice and also thinks she's more artistic
in her proper niche.  She does, however, think that Battle should stick to
the baroque and the classical repertoire to which her lyrical voice is
suited, and shouldn't be doing some of the more romantic and heavy operatic
work which she's been trying.  Peggy also doesn't have anything good to
say about Battle's acting ability - a real drawback if you're actually
*watching* her in an opera.  Peggy had only generally good things to 
say about Studer.

-- 



************************************************      
*Ann B. Carlson (carlson@ab00.larc.nasa.gov)   *       O .
*MS 366                                        *         o  _///_ //
*NASA Langley Research Center                  *          <`)=  _<<
*Hampton, VA 23665-5225                        *             \\\  \\
*(804) 864-7050                                *
************************************************
Newsgroups: rec.music.classical
From: young@sklib.usask.ca
Subject: diane bish
Organization: University of Saskatchewan
Date: Mon, 6 Apr 1992 14:47:23 GMT

To the person enquiring about Diane Bish:

She is no longer with Coral Ridge Presbyterian Church, according to a
friend of mine who is an organist in the community there.  I think he
said she's gone to Pennsylvania, but I'm not certain.  You could try
contacting the American Guild of Organists, as she is probably a member.