HDTenEightyP/NetNews huggingface dataset:
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Treble Chorus of New England Scores More Successes with Concerts
Organization: Mail to News Gateway at Wang Labs
Date: Tue, 5 Jan 1993 00:00:09 GMT

Regarding those Treble Chorus of New England concerts at the Methuen,
MA Memorial Hall, with guest soloist Marcus DeLoach, both performances
were sold out. There was extensive standing-room-only overpacking taking
place on Sunday afternoon.  Unfortunately, quite a number of people
had to be turned away too.  The concerts took place with what must be
one of the world's largest organs, extensively decorated with wood
carving.  It was mentioned that the organ was orginally in use by
the Boston Symphony Hall until the turn of the century when it was
moved to Methuen, and the Memorial Hall built around it.

The Treble Chorus, under the artistic direction of Marie Stultz, has
recently returned from its second London engagement in less than one
year.  Having made its international debut at the Shrewsbury, England
Festival and at London's famed St. Martin-in-the-Fields, the acclaimed
children's choir returned to England in November to act as cultural
ambassadors as Harrods, the largest department store in the world,
celebrated "Christmas in New England" with an array of area products
and a black-tie concert.  The Treble Chorus was founded in 1975 by Marie
Stultz and has since performed at Boston's Symphony Hall, the Boston
Conservatory, the New England Conservatory, and Great Woods with
the leading Pittsburgh Symphony.  The Chorus and child soloists have
sung for Seiji Ozawa and Michael Tilson Thomas, as well as with major
opera companies and symphony orchestras throughout the United States.
Most recently, members of the TCNE appeared in the Boston Lyric
Opera's production of La Boheme, and in the Paramount Pictures film
"School Ties."

Besides the usual thrilling performances from the National Association for
the Advancement of the Arts 1992 President Award Winner, baritone Marcus
DeLoach of the New England Conservatory, outstanding performances were
also turned in by some of the younger soloists, including Carolyn
Conroy, Lorelei Costa, Malina Linkas, Nicole Mallen, and Maria Costa,
singing Benjamin Britten's Missa Brevis in D.

The enthusiastic audiences also seemed to thoroughly enjoy the singing
of Catherine Hedberg, Kate Hazzard, Ellen Keefe, Mandy Miller, Lisa
Knott, Julie-Mandell, Emily Collins, Joe Lovoi, and Andrew Scanlon
in their performances of works by John Rutter and Benjamin Britten, again.

Marcus DeLoach wrapped up the events singing Adolph Adam's O Holy
Night, together with the full ensemble, leading to very lengthy
standing ovations after both performances.

The next TCNE open rehearsal is scheduled for May.  Singers',
Opera, and Adult Conducting Workshops are scheduled for August,
followed immediately by performances.

Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.classical
From: dclason@dante.nmsu.edu (Dennis Clason)
Subject: Re: So exactly what's wrong with Bolero, anyway?
Organization: New Mexico State University, Las Cruces, NM
Date: Tue, 12 Jan 1993 16:31:30 GMT

In article <1993Jan8.045004.15896@noose.ecn.purdue.edu> lungtt@gus.ecn.purdue.edu (Terence T. Lung) writes:
>>In article <C0ILLv.EsB@world.std.com> kaya@world.std.com (Kaya Bekiroglu) writes:
>>>
>>>Pardon my ignorance of classical music, but what is wrong with
>>>Bolero?  I have heard only a portion of it, and it sounds alright
>>>by me.. I happen to like it.
>
>I think the question is where does it start and where does it end?
>If you've heard a portion of it, you've heard all of it.
>You can take the same portion and play with the volume and you've done it.
>
Only if your volume control can make a flute sound like clarinet,
or a trombone sound like a trumpet when they are playing the same
pitch.  Bolero is an etude in orchestral colors.  We are accustomed
to hearing orchestral color change as other musical elements change,
Ravel asks the question "What happens if I change _only_ colors?"

In another sense, Bolero is a one-trick pony, but it's a good trick.
I remember reading somewhere that Ravel was not overly fond of Bolero.
I like to listen to it occasionally, because Bolero led me into
the music of Debussy and Satie, and later Milhaud and Ibert.

Dennis Clason.
Newsgroups: rec.music.classical,ny.general
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Pittsburgh Symphony Wins New York Times Award
Organization: Mail to News Gateway at Wang Labs
Date: Wed, 6 Jan 1993 17:55:23 GMT

I noticed that the Pittsburgh Symphony just won the 1992 New York
Times Award for "The Most Faithful Fidelio."

"Lorin Maazel and the Pittsburgh Symphony made a virtue of
unstaged concert opera with their presentation of Beethoven's
'Fidelio' at Carnegie Hall; in their hands, an opera became a
cantata."

Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: There's nothing wrong with Bolero
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Wed, 13 Jan 1993 01:38:43 GMT

In article <1iv616INNiv9@menudo.uh.edu> chem91@Elroy.UH.EDU writes:
>[...]

>>>>     Well, before this turns out to be a totally irrelevant post, let
>>>>me try and save it.  What other "classical" pieces you know of that
>>>>have been "tainted" by movies?

>>I thought when I saw "A Clockwork Orange" that I would never be able to listen
>>to Beethoven's 9th Symphony again without rather unpleasant associations but,
>>funnily, I've never had that problem; so there's a superb example of a piece
>[...]

>*A Clockwork Orange* is one thing.  "Look how safely we ship oil" Exxon(TM) 
>commercials are quite another...  That has got to be my all-time worst example 
>of abuse of classical music 

Actually, _Die Hard_, starring Bruce Willis, may be the movie they made 
Alex watch!  Lots of violence and the Ninth...

Roger
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: My Christmas CDs
Organization: Morgan Stanley & Co., New York, NY
Date: Mon, 4 Jan 1993 23:59:52 GMT

In article <p#82as=@rpi.edu> mccomt@aix.rpi.edu (Todd Michel McComb) writes:
>In article <0igVwB3w165w@student.business.uwo.ca> Richard Smith writes:
>>All given to myself, unfortunately. Nobody else even tries anymore.
>
>Same here.  I used to ask for CDs, but never got any.  This year I
>didn't even ask.
>
>>Perotin                         Organum (Hilliard Ensemble) Gorgeous
>
>Indeed.
>
>T. M. McComb
>

No no no.  Don't expect friends or family to buy CDs or books for you
("Hey, Beethoven's sixth, and CONDUCTED BY RICCARDO MUTI!  WOW!") unless
the whole lot of you are severely dysfunctional.  You must break this
pattern EARLY.  Here are some suggestions based on more than 40 years
of experience with this knotty interpersonal difficulty:

	1.  Lay in the foundation by talking up the "personal
	    nature" of gift certificates.  (This approach should
	    be used cautiously around loved ones who regard B.
	    Dalton as a "quality bookshop"; or indeed, as any
	    kind of bookshop.)

	2.  Beginning no later than March, embark on a relentless
	    campaign of subliminal conditioning.  E.g.,

		Mother:  "Are you joining us for dinner Wednesday?"
		You:     "Gee, I can't, I'm going to hear

		    >>> Wagner's Ring, conducted by Furtwangler <<<
			^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

		You to sleeping wife, in a whisper:

		    ("Nancarrow's Player-piano studies,
		     "Nancarrow's Player-piano studies,	...")

	3.  (Parents only)  Give *them* what *you'd* like to get,
	    then "borrow" it a few months later.

	4.  (Wife/husband or girl/boyfriend)  Give *them* what
	    *you'd* like to get.

	5.  Sigh wistfully whenever suitably planted advertisements
	    turn up "unpredictably" (e.g., among the stack of bills).

	6.  Tell family member A what you hope family member B will
	    get for you.  Perform for all 2-ples in your clan.  (Those 
	    who worry excessively about "manipulation" should avoid this 
	    approach.)

PS:  Strategy 5 worked particularly well for me this year.  Boy, was
I surprised.


Dr. Steve



Newsgroups: rec.music.classical
From: kelsey@casbah.acns.nwu.edu (chris kelsey)
Subject: Re: Tower Records
Organization: Northwestern University, Evanston Illinois.
Distribution: usa
Date: Tue, 12 Jan 1993 10:42:39 GMT

In article <3#-3z+q@rpi.edu> mccomt@aix.rpi.edu (Todd Michel McComb) writes:
>In article <1993Jan9.012122.26919@informix.com> Rika Tsitsinia writes:
>>In article <1993Jan8.072759.8437@news.acns.nwu.edu> chris kelsey writes:
>>>hate to disappoint y'all, but...  tower's "blow-out" this year is merely
>>>their regular sale prices, but all labels at once.  and if your local tower
>>>is like the one in chicago, they spent the month of december marking *UP*
>>>most of the premium disks by $1 - $2.
>
>>The sales are real; they don't mark up anything the previous
>>month in order to put it on "sale" today.
>
>I believe the point of the original posting is that many labels *have* gone
>up in price for the new year.  See the earlier discussion of Harmonia Mundi's
>massive price increase.

At the chicago tower, they *did* spend december with the price label gun,
marking up premium disks (some stores at least put the new prices only
on new stock...).  yes, prices have risen this year, but this most recent
increase applied to new stock that came in in december.  i think it's a bit
of dirty pool to run around marking up backstock two weeks before a sale.
the more typical pattern is to put stuff on sale, then mark it all up when
it's over.  this is what tower is doing with polygram, etc. stuff -- what was
$13.99 is being marked at $14.99 as it comes in, but there wasn't much
marking up of existing stock in that price range before the sale.

As for the "reality" of the sale, the folks at tower here had been expecting
sale prices *lower* than their "regular" sale prices, and were disappointed
when it turned out to be the usual sale prices.  i don't know who told 'em
what, but they were telling the loyals to expect perhaps an extra dollar
or so off what one finds on the label-specific promotions.  those of us
who do tend to buy HM and Qualiton goodies were thus double disappointed
when the net result was just $1 or $2 off what we would have spent a week 
before christmas.  

-- cgk
Newsgroups: rec.music.classical
From: torenvl@ecf.toronto.edu (TORENVLIET GERARD LAWRENS)
Subject: Re: Best CD of Mussorgsky "Pictures ..."
Organization: University of Toronto, Engineering Computing Facility
Distribution: na
Date: Fri, 8 Jan 1993 04:30:04 GMT

In article <C0Fx2F.9Gy@usenet.ucs.indiana.edu> smitra@bronze.ucs.indiana.edu (Sami Mitra) writes:
(Commenting on what I lately keyboarded)

>>Quite frankly, I don't recommend the orchestration by Ravel
>
>Why do you not recommend this orchestration? Of course, there have
>been many versions, a fate that somehow has haunted Mussorgsky in many
>of his works, but Ravel's version seems to be standing the test of time
>pretty well.

I don't recommend it mainly out of personal taste.  "Pictures..," according
to me, is the orchestrated imaginings of a person as he views paintings at a
gallery.  Yet his thoughts are somewhat subdued, as he is in a quiet gallery.
The cacophony of different instruments of the orchestra does not fit with 
subdued thoughts; solo piano does.

Just my opinion...

Regards,
Gerard.

_____________________________________________________________________
Gerard Torenvliet                 |
Engineering Computing Facility    |  Hofstadter's Law:
University of Toronto             |   It always takes longer than you
                                  |   think, even when you take into
torenvl@ecf.toronto.edu           |   account Hofstadter's Law.
(416)221-5949                     |
---------------------------------------------------------------------

Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: So exactly what's wrong with Bolero, anyway?
Organization: Credence Systems Corp. Beaverton, OR
Date: Wed, 13 Jan 1993 03:27:56 GMT

In article <1993Jan8.183617.25751@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>Okay, you don't have to like it. Admittedly, it has the dubious distinction 
>of being overplayed, particularly in fragments...

Really? This is one of the few pieces I know of which there's not much
point in playing if you aren't going to play it all.

It has an approximate ancestor, too. The Chopin Berceuse. Maybe it means
something that Chopin was able to achieve with a single note what Ravel
took a whole triad shift to accomplish. Or maybe it's just an indicator of
the far more concentrated and meditative mood of the Chopin. It's interesting
that the top note of the Ravel triad happens to be the same as the one note
in the Chopin, even if the harmonic context is completely different.

						Jeff Winslow
From: spacefox@acs.bu.edu (Godfrey Degamo)
Newsgroups: rec.music.classical
Subject: Re: There's nothing wrong with Bolero
Date: 11 Jan 93 21:44:53 GMT
Organization: Boston University, Boston, MA, USA

In article <1isjviINNdj9@mizar.usc.edu> hbaldwin@mizar.usc.edu (Harry Baldwin) 
writes:
>Yes and no.  There's 'nothing wrong with Bolero,' it's true, but I
>don't think it's necessarily 'pathological' to retire it from one's
>listening for a while so it could sound fresh again. Ever since the
>film 10 Bolero has been a  repeated request on classical radio...

     Was Bolero written for 10?  I don't usually like it when
"classical" music is used in movies, I tend to associate it with the
movie and all it's emotional forms and this "pollutes" its musical
"purity."  (I was disappointed to find out that Chopin's Op 10 No 3
was named "tristesse etude" and more disappointed someone actually
wrote words to the melody.  I believe the song is called "No Other Love")
     So, I don't know if I should do this, but I never saw 10.  Is it
any good?  I know this perhaps doesn't belong in this newsgroup, but I
want to know if it "pollutes" Bolero.  Or it maybe the case that
Bolero was written for it, I don't know!
     Well, before this turns out to be a totally irrelevant post, let
me try and save it.  What other "classical" pieces you know of that
have been "tainted" by movies?

                                   -G. Degamo,
                                    spacefox@acs.bu.edu
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico ( paganini's admirer )
Subject: who is the concert master of berlin phil?
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Tue, 5 Jan 1993 21:37:32 GMT

does anyone know?  and is he asian??

thanks...please email

dw.

Newsgroups: rec.music.classical,rec.music.misc,rec.arts.movies,rec.arts.sf.movies
From: erc@unislc.uucp (Ed Carp)
Subject: "Brainstorm" - a musical question
X-Newsreader: TIN [version 1.1 PL6]
Organization: Unisys Corporation SLC
Date: Mon, 11 Jan 1993 10:37:00 GMT

I'm posting this to several newsgroups because the question touches many of
them.

In the SF movie "Brainstorm", Natalie Wood is shown playing what sounds like
a classical piano piece (with a segue to strings), then Christopher
Walken is shown playing the same piece.  I have the soundtrack (finally
found it!), and yes, the piano piece *is* on there, but no mention is made
of the source.  The credits list "music composed and conducted by James
Horner", but it *really* sounds like a classical piece to me.  Now, my
question - is the basis for the piece (called, appropriately enough,
"Michael's Gift to Karen") some classical piece, or is it an original by
Horner?  If it based on another piece of music, who is the composer or
artist?  I'd like to hear the entire piece, if I can, and the beauty of this
particular piece of music has haunted me for many years.

Thanks for any help anyone can give - *please* email me directly at
erc@apple.com.  *Please* don't post, as I don't think this question has a
wide enough audience for replies to be posted.  Thanks in advance!!
-- 
Ed Carp			erc@apple.com, erc@saturn.upl.com	801/538-0177
1935 will go down in history.  For the first time, a civilized nation has
full gun registration.  Our streets will be safer, our police more efficient,
and the world will follow our lead into the future.  --Adolf Hitler
From: haynes@cats.ucsc.edu (Jim Haynes)
Newsgroups: rec.music.classical
Subject: Re: Composer's skulls
Date: 13 Jan 1993 04:22:40 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: hobbes.ucsc.edu


In article <ofIlwoL0BwxI06bVU_@transarc.com> Craig_Everhart@transarc.com writes:
>It seemed to me to be an odd relic, but what do I know.  It was
>impressive, certainly.
Certainly not as odd as Percy Grainger's :-)
-- 
haynes@cats.ucsc.edu
haynes@cats.bitnet

"Ya can talk all ya wanna, but it's dif'rent than it was!"
"No it aint!  But ya gotta know the territory!"
        Meredith Willson: "The Music Man"

Newsgroups: rec.music.classical,rec.music.misc
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: CARTOON MUSIC! HELP AND A CHALLENGE
In-reply-to: shari@phoenix.Princeton.EDU's message of Thu, 7 Jan 1993 00:57:33 GMT
Organization: pubs
Date: 7 Jan 93 17:28:28 CST


One time an anomoly of radio reception allowed me to hear a TV
soundtrack on my FM receiver.  I happened on it in the middle of a
cartoon and assumed that some creative DJ was demonstrating something.
What was hilarious was that I found I didn't need the picture--the music
and sound effects are *so* explicit and graphic (not meaning those words
in their recent euphemistic senses) that you can pretty much watch the
cartoon inside your head.  This struck me as quite a technical
accomplishment: consider that the entire animated creation is redundant
once you're familiar with the characters and style (which most of us are
in spades).

Chris Brewster
cb@cray.com
From: givler@bermuda.cbm.commodore.com (Greg Givler)
Newsgroups: rec.music.classical
Subject: Re: Favourite Organ Work Survey
Date: 8 Jan 93 15:38:35 GMT
Organization: Another Amiga UNIX System

In article <1993Jan7.172316.22217@city.cs> lionel@cs.city.ac.uk (Lionel Tun) writes:
>In article <1993Jan4.051617.16927@news.stolaf.edu> hakari@lars.acc-admin.stolaf.edu (The Conformist Contrabass Clarinetist) writes:
>>
>>
>>My 2 favorites are Bach Fugue in g minor ("Little") and Saint-Saens Finale from
>>Symphony No. 3...well, at least the organ parts of it...
>
>Have you come across the Bach fugue on CD at all?
>I first came across it in Deluxe Music Construction Set on the
>Amiga and I really loved it! But I would like to hear it played
>by a human as well.

Well, there is a Virgil Fox recording of it out there. I have several of
his albums but I don't remember which it is on. RCA is re-releasing alot
of his stuff lately. I think it is on one of his Heavy Organ albums.

>
>--
>  ________  Lionel Tun, lionel@cs.city.ac.uk  ________
> / /_  __/\       Computer Vision Group      /\ \__  _\
>/___/_/_/\/ City University, London EC1V 0HB \ \___\_\_\
>\___\_\_\/        071-477 8000 ext 3889       \/___/_/_/


Greg
-- 
Greg Givler                 | "There are lies, damned lies, and statistics"
Commodore Product Assurance | - Mark Twain
givler@cbmvax.commodore.com |
===============================================================================
From: dmr@andromeda.rutgers.edu (Daniel Rosenblum)
Newsgroups: rec.music.classical
Subject: R. Vaughan Williams's first name
Summary: Just how is it spelled and pronounced and why?
Keywords: Ralph, Raiph, Vaughan Williams
Date: 12 Jan 93 17:05:39 GMT
Followup-To: poster
Organization: Rutgers University, Graduate School of Management, Newark, N.J.

Just what was Vaughan Williams's first name?  I've usually
seen it spelled Ralph, which I, and everyone I know, pronounce
to rhyme with the first three letters of "Alfred".  But I've
usually heard it pronounced as if it were spelled "Raiph", to
rhyme with "safe".  Is the "l" in what I have always taken to
be "Ralph" really an "i" in which the ink always runs to connect
the stem and the dot?  Is it really an "l" but is there some
reason (idiosyncratic, dialectal, whatever) for which Vaughan
Williams pronounced it to rhyme with "safe"?  Or did Vaughan
Williams really pronounce it the way I pronounce "Ralph", in
which case why do most other people pronounce it "Raiph"?

I'm sure this is a FAQ on rec.music.classical, so I'm asking
replies to be sent directly to me.  I'll post a summary if
asked.  Thanks in advance for enlightening me on this bit of
music trivia.
-- 
Daniel M. Rosenblum, Assistant Professor, Quantitative Studies Area,
   Graduate School of Management, Rutgers University (Newark Campus)
ROSENBLUM@DRACO.RUTGERS.EDU                      ROSENBLUM@ZODIAC.BITnet
dmr@andromeda.rutgers.edu          ...!rutgers!andromeda.rutgers.edu!dmr
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: new method of cataloging Beethoven's music?
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Wed, 13 Jan 1993 01:33:45 GMT

In article <9301121549.AA22185@software.pulse.com> lampson@software.pulse.com (Dave Lampson) writes:
>In Article 45683 of rec.music.classical, Roger Lustig writes:
>>In article <LYNN.93Jan11114716@ives.urbana.mcd.mot.com> lynn@phx.mcd.mot.com writes:

>>>Last night I was at a piano recital (Oleg Volkov, in Scottsdale AZ),
>>>where the artist opened with Beethoven's 32 Variations in Cm. Rather
>>>than listing the usual opus cataloging number, it was specified with
>>>the number WoO80. I'm not familiar with this cataloging system. Does
>>>someone out there know what it's about?

>>Not that new, but necessary.  It stands for Werke ohne Opuszahl: works
>>without an opus number!  

>>And, indeed, that piece has no such number.  Good, though!

>It most certainly does, at least according to the New Grove.  32 Variations
>on an Original Theme in C minor WoO. 80 written in 1806.  Perhaps you are
>both thinking of the 33 Variations on a Theme by Diabelli in C Major Op. 120
>written in 1823.  The easiest way to tell them apart might be that the WoO 80
>variations are much shorter and only take about 11 minutes to play, whereas
>the Diabelli variations can take nearly an hour to perform.

By "no such number" I meant, "no opus number."  Sorry about the confusing
use of "such."

Roger

Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Christmas Gifts
Organization: Visual
Date: Mon, 4 Jan 93 12:52:01 GMT

What I got:

Sibelius Symphony #1, Bernstein/VPO, DG

Strauss "Die Frau ohne Schatten", Solti/VPO, London

Shostakovich Symphony #4, Rostropovich/NSO, Teldec

Hildegard of Birgen (sp?), Hymns and Sequences, Hyperion


After listening to each a few times, I have no complaints.  The Strauss
and Sibelius are stunning.  The Shostakovich promises to grow on me
(what a puzzling piece!) and Abbess Hildegard is on an exalted plane 
all her own.
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: N. American Choral Concerts Jan. 15 - 31 (King's Singers)
Date: 9 Jan 93 20:41:37 GMT
Organization: Digital Systems Co., Atlanta GA

THE KING'S SINGERS: 1993 tour concerts, Jan. 15 - 31

January 15, 8:00pm; 17, 3:00pm and 7:30pm : St. Louis, Missouri
	Powell Symphony Hall  (314) 533-250
	Pops concert with St. Louis Symphony.

January 19 : Provo, Utah
	Brigham Young Univ., DeJong Concert Hall (801) 378-6340

January 20 : Boulder, Colorado
	University of Colorado, Macky Auditorium (303) 492-7425

January 22, 8:00pm : San Francisco, California
	Herbst Theatre (415) 398-6449

January 23, 8:30pm : Pasadena, California
	Ambassador Auditorium (818) 304-6166

January 25, 8:00pm : Princeton, New Jersey
	McCarter Theatre (609) 683-9100