HDTenEightyP/NetNews huggingface dataset:
From: midkiff@public.BTR.COM (Neil E. Midkiff  midkiff@btr.com)
Newsgroups: rec.music.classical
Subject: Re: Britten: A Midsummer Night's Dream
Date: 13 Dec 92 12:17:21 GMT
Organization: BTR Public Access UNIX, MtnView CA. For info contact: info@BTR.COM

In article <> conrad@brahms.udel.edu (Jon Conrad) writes:
[to Ben's question on Britten's _Midsummer Night's Dream_:]
>>Does anyone have any opinions on what 
>>appears to be the only available recording, with Britten himself
>>conducting and Alfred Deller singing Oberon?  Thanks!
>
>It's terrific.  (Deller may be its weakest point, and he's not bad at
>all.)  Made in 1967 with a top-notch cast (the usual suspects...Pears,
>Harper, Veasey, Harwood, Tear, Shirley-Quirk, Watts, etc.).  

When I first saw Jon's reply I had not known that a friend would invite
me to the closing performance of this opera in San Francisco's current
season, last night (12/12/92).  Even from the standing-room space at the
back of the top balcony, it was a superb musical experience!  Particular
standouts were Sylvia McNair as Tytania [sic, from Britten and Pears'
libretto], Susan Patterson as Helena, and Donald Adams as Bottom.

Yes, Donald Adams, formerly of the D'Oyly Carte Opera Company (the
Gilbert & Sullivan "mother church" until its demise in the 1980s).
Those who know his G&S performances won't be surprised to learn that
his comic acting and his impeccable diction weren't obscured by the
ass's head that Puck places on Bottom.  And his singing voice is still
of topnotch operatic quality, at whatever age he may be by now.

I was curious about a couple of things that I couldn't answer from the
program or from Kobbe'/Harewood, which lists the original cast but not
the roles they took.  Clearly, Deller must have been Oberon, as in the
recording Jon mentions.  What part did Peter Pears sing?  He's listed 
after Deller, George Maran, Thomas Hemsley, and Owen Brannigan among
the men.

And surely this means that Brannigan played Bottom; at least, I'm guessing
this by analogy, since I know Brannigan only as the Sergeant of Police
on both the Sir Malcolm Sargent 1961 recording of THE PIRATES OF PENZANCE
and the 1968 Isidore Godfrey/D'Oyly Carte recording of the same.
If this is so, Donald Adams is following in a fine tradition of G&S-trained
Bottoms.

I shouldn't forget-- Kudos too to a fine boys' chorus of fairies, apparently
selected from the best of three or four local boys' choruses.  It's great
to know that these young musicians are getting a wonderful start; they
handled some fairly difficult music with skill.

-Neil
Newsgroups: rec.music.classical
From: bili6745@mach1.wlu.ca (bilinsky keith)
Subject: Re: Shostakovich symphony recommendations
Organization: Wilfrid Laurier University
Date: Sun, 20 Dec 1992 08:41:38 GMT

In article <1992Dec19.202445.18333@magnus.acs.ohio-state.edu> jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>	I'm just beginning to explore Shostakovich's symphonic output.
>To date, I own symphonies #7 (Mata/Dallas) and #6 & #9 (Jansons/Oslo),
>and I'd like to know your thoughts on the following:
>	1.  What are the "best" recordings of his 11th and 13th?
>	2.  Which other of his symphonies would be most worth exploring
>(as a possible guideline, I like the 7th much more than the 6th and 9th)?
>    Thanks in advance for your suggestions.
>--jason
>

Listen to Shostakovich 5, get the 1959 New york, Bernstien if you can,
Others will flame it for being inaccurate but its a woderfully exciting
work/performence.

Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Recorded using B&W speakers
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Sat, 19 Dec 1992 07:48:36 GMT

In article <1992Dec18.155407.5333@tc.fluke.COM> strong@tc.fluke.COM (Norm Strong) writes:
>
>The recording engineer sets up all the microphones he's apt to need all
>over the orchestra; stereo pairs here and there; accent mikes, whatever.
>Wires from all these mikes are run out of the auditorium and way, way,
>way down the hall to a small room, usually the Green Room, where all the
>recording equipment is set up.  There is also a pair of speakers set up
>just like they would be in a living room.  

Not always, Norm.

Most major symphonic recordings in the U.S. are made on very very tight
time scales due to the godawful union rates.  The difference between
renting a 2-track machine or a 48-track machine is nothing compared to
the cost of 10 seconds of orchestra overtime.  Very often, especially in
a live recording, only a cursory listen will be given on sight.  More
pairs than necessary will be hung, with close XY (or ORTF, or splayed,
or something intensity-driven), a distant pair for ambience, accent 
mics on every section, etc., it'll all be checked for coherence and then
just slammed down to a 48-track digital machine, taken back to the post
room (where the B&W's are) after the orchestra is safely home, and 
pieced together there.

It's a pity that union scale is so high in this country that it becomes
economically unwise to record major works in this country.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: The worst composer in a millenium
Organization: Educational Computing Network
Date: Tue, 15 Dec 1992 21:57:10 GMT

In article <1992Dec15.152618.10992@news.columbia.edu> rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy) writes:
>My main answer to that would be that music does not have any barriers
>and if it was a good composition I do not think we would have such a
>big line of Messy haters.

Well now, sometimes if a certain critic or person hates something, that is a
good reason to like it.

Jeff
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: one-work composers?
Date: 15 Dec 92 03:59:34 GMT
Article-I.D.: husc3.1992Dec14.225935.18496
Distribution: usa
Organization: Harvard Math Department

How about Franz X. Gruber --- is anything by him ever performed besides
the thrice-familiar Stille Nacht?  [Our on-line catalog does reveal
scores of two German Masses, a German Requiem, and a "Missa in
contrapuncto", but no recordings at all.]

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
From: jbodnar@ccwf.cc.utexas.edu (John Bodnar)
Newsgroups: rec.music.classical
Subject: Re: Good music for brass quintet
Date: 18 Dec 92 08:54:18 GMT
Reply-To: jbodnar@ccwf.cc.utexas.edu (John Bodnar)
Organization: The University of Texas at Austin, Austin TX

Well, these aren't entirely for Brass Quintet, but they're worth a listen.

1) Millar Brass Ensemble, Koss Classics KC-1011
   Plog: Concerto for Trumpet and Brass Ensemble, soloist - George Vosburgh
   - this is a real finger buster
   Willbye: Three Madrigals
   Franzetti: Overture for Brass
   Hornoff: Suite for Four Trombones
   Rautavarra: A Requiem in our Time
   Berner: What Birds See
   - expert playing throughout, and very clean, crisp sonics

2) Munich Brass, Orfeo C 166 881 A
   Bach: Introduction and Fugue, arr. Schumacker
   Ewald: Quintet No. 2, Op. 6
   Arnold: Quintet
   Roblee: American Images
   Monti: Czardas, arr. Weiner
   Gershwin: Gershwin in Brass, arr. Roblee
   Mancini/Steiner/Barry/Chaplin/Gershwin: Hollywood, arr. Stoehr
   Weiner: Munich Brass Boogie
   - a nice mix of arrangements and original stuff

3) Eight Bayreuth Festival Horns, Accanta 43 800
   Wagner: Lohengrin Fantasy for 8 Horns
   Stiegler: Rheingold Fantasy for 8 Horns
   Klier: Siegfried Fantasy for 8 Horns
   Klier: Tristan und Isolde Fantasy for 8 Horns
   - you've got to hear this to believe it; 8 horns can sound pretty
     amazing // 8 trombones would be better though :-) //

-- 
John Bodnar                          : Friends don't let friends use Windows!
The University of Texas at Austin    : But I'm still waiting for Microsoft
Internet: jbodnar@ccwf.cc.utexas.edu : Solitaire NT!  Heaven forbid, another
UUCP: ....!cs.utexas!ut-ccwf!jbodnar : productive user of OS/2 v2.0!
Xref: sparky rec.music.classical:18636 ne.general:3437
From: MICHAEL.WILLETT@OFFICE.WANG.COM ("Michael Willett")
Newsgroups: rec.music.classical,ne.general
Subject: Re: Music Schools
Date: 15 Dec 92 17:05:29 GMT
Organization: Mail to News Gateway at Wang Labs

Regarding the discussion going on here about the voice
program at the New England Conservatory, I would agree
that Tamara Wright is quite good, as are a number of the
other top people there such as Angela Horn and Jennifer
Ayres, for example.

It should probably be pointed out that the Metropolitan
Opera national competition winner this year, You-mi Cho,
currently studies at NEC.  (I heard her sing last night
in a master class with Marvin Katz who came up from New
York for the event.  He's New York City Opera mezzo-soprano
Teri Medley's opera coach also.)

Michael.Willett@OFFICE.Wang.com
From: jeffand@csa3.lbl.gov (JEFF ANDERSON)
Newsgroups: rec.music.classical
Subject: Re: Britten: A Midsummer Night's Dream
Date: 14 Dec 1992 12:18 PST
Organization: Lawrence Berkeley Laboratory - Berkeley, CA, USA
Distribution: world
NNTP-Posting-Host: 128.3.254.198
News-Software: VAX/VMS VNEWS 1.41    

In article <8464@public.BTR.COM>, midkiff@public.BTR.COM (Neil E. Midkiff  midkiff@btr.com) writes...

>When I first saw Jon's reply I had not known that a friend would invite
>me to the closing performance of this opera in San Francisco's current
>season, last night (12/12/92). 

>I was curious about a couple of things that I couldn't answer from the
>program or from Kobbe'/Harewood, which lists the original cast but not
>the roles they took.  Clearly, Deller must have been Oberon, as in the
>recording Jon mentions.  What part did Peter Pears sing?  He's listed 
>after Deller, George Maran, Thomas Hemsley, and Owen Brannigan among
>the men.
> 
Pears sang the part of Flute(Thisbe) in the premiere.  I've always been a 
little curious about why Britten gave him such a minimal role.  The part
certainly is fun, with plenty of comic potential, but sure doesn't have much
musical interest.  On the other hand, the opportunity to mock Joan Sutherland
on stage doesn't come around that often :-)

Jeff Anderson
Newsgroups: rec.music.classical
From: evan@top.cis.syr.edu (Evan Cheng)
Subject: Re: Pachelbel, Beethoven, and Mel Gibson
Organization: Syracuse University, CIS Dept.
Distribution: usa
Date: Sun, 20 Dec 92 03:46:10 EST

Darn! I can't play the piano. But I am a pretty decent vocalist. Now
suppose I go to the auditorium every morning and start blasting 'O sole
mio ...

Just a thought.

Evan Cheng
evan@top.cis.syr.edu
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: Pianists
Date: 14 Dec 92 22:33:08 GMT
Organization: DSC Communications Corp, Plano, TX

In article <1992Dec12.010747.15941@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>mbfeld@unix.amherst.edu (A waste of bandwidth originating) writes:
>: 
>: I want to get some feedback on a thought I've been having...
>: 
>: Is it my imagination or are we in a time singularly short of good pianists?
>: In the last 15 years, we have seen the deaths of Rubinstein, Horowitz, Arrau, 
>: Gould, Hungerford (if you know him)... who remains of this quality?
>
>Not to mention Serkin and Solomon (died 1988).
>
>: I have respect for Richter, less for Barenboim, none for Pollini.
>
>Why none for Pollini? I think he's a far finer pianist than Barenboim.
>I know he can overintellectualise on occasion, but technically he is
>surely supreme - listen to the last movement of his Hammerklavier.
>
>: I also think Richard Goode is a hell of a guy...yet none of these people
>: seem to really *have it* to the degree of the aforementioned, or to go back 
>: earlier, of Lipatti, Schnabel, Cortot, Hoffmann, Busoni, etc...
>: 
>: Personally, I think the culprit is TV.
>
>The culprit is more likely the gramophone and the 'global village'.
>
>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452

I agree.  But I also think that real genius will find its destiny.  At least
I hope so.

I am surprised no one has mentioned Richard Goode.  His Beethoven sonatas
are astonishing.  I really think he belongs or could one day belong to the 
elevated circle of Schnabel and Serkin. 

I know Serkin though very highly of him and I believe they worked together 
at Marlborough etc.  There was a very good article on him in the New Yorker
a few months ago.  His career has not followed the high profile path of
most of the famous pianists of his age, but he has steadily moved up over
the years.

Gerry Palo (73237.2006@compuserve.com)
From: dixon@csn.org (Jonathan Dixon)
Newsgroups: rec.music.classical
Subject: brass quintets
Date: 15 Dec 92 22:21:22 GMT
Organization: University of Colorado, Boulder


   One group which has done some recording of non-pop music is the
Bowie Brass Quintet.  They are based in Bowie, MD, (USA) and I don't think they have had much exposure outside of the area.  The performers are all members of
the service bands based in Washington, DC, and are all great musicians.
     They have put out at least two CD's, one of which is a Christmas CD, and
there is quite a variety of pieces on them, from Gershwin to works composed
specifically for the group.  I don't know the prices (or present availability)
of the CD's or the music, but the address (from a CD of theirs) is

	Bowie Brass Quintet Productions
	PO Box 1022
	Bowie, MD 20715

   Hopefully this is helpful.


Jon Dixon
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: query about new opera
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 18 Dec 92 17:04:44 EST

SA>So much interesting music has emerged from the northern countries
  >in the past few years, that I have not found time to give Sallinen

Hmmm ... well, not from THIS Northern country ... but I'll listen to any
suggestions you might have ....

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: shire@dorsai.com (Kenneth Shire)
Subject: Re: Brahms Symphonies
Organization: The Dorsai Embassy, New York's Computer Consulate. +1.718.729.5018
Date: Tue, 15 Dec 1992 01:43:57 GMT

>    I'd like to solicit opinions about the best performances of Brahms
>    Symphonies, both individual symphonies and complete cycles. In particular,

I'd like to add my vote to those who have pointed out the extraordinary 
series of Furtwangler recordings of Brahms.  His recording on DG of the 
1st is probably the best recording of the symphony I know of.  Since 
Furtwangler performances tend to be either the best or the most 
interesting performances of any of the works he conducted, IMHO, that is, 
my opinion should come as no surprise.  Even his Scala RING with 
Flagstad, played much faster than usual for WF (apparently because of the 
acoustic, BTW), has detail that other conductors never manage to bring 
out.  Let's face it, the man was as great a genius as any of the 
composers whose work he conducted.
From: rseymour@reed.edu (Robert Seymour)
Newsgroups: rec.music.classical
Subject: Newly Released Soviet Tapes
Date: 20 Dec 92 13:05:30 GMT
Reply-To: rseymour@reed.edu
Organization: Reed College, Portland, OR


	I was watching the all night national news, when they had an article on  
the newly released soviet video tapes and concert performances. Aparently the  
soviet government decided to keep a large amount of tapes of performances by  
russian musicians out of circulation. The now semi-privatized federal music  
company will clean up the noise levels on the tapes and release them over the  
next year or so. They mentioned several of the performances and composers who's  
work will be released. Does anyone have a full list of what is to be released,  
and what the dates will be on these releases? 

--
Robert Seymour				rseymour@reed.edu
Departments of Physics and Philosophy	(NeXTmail accepted)
Artificial Life Project			Reed College
Reed Solar Energy Project (SolTrain)	Portland, OR
From: haynes@cats.ucsc.edu (Jim Haynes)
Newsgroups: rec.music.classical
Subject: Re: Score-reading - urban myth?
Date: 20 Dec 1992 06:21:50 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: hobbes.ucsc.edu
Keywords: scores, orchestra


Seems like I remember reading that Toscanini's eyesight was pretty bad
without glasses, but he wouldn't wear glasses while conducting.  I
got the impression it was vanity, but it might have been that they
didn't do him much good.
-- 
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
Subject: Re: It's called "Deploration sur la morte d'Ockeghem"
From: phoogenboom@eagle.wesleyan.edu
Date: 13 Dec 92 16:38:29 EST
Organization: Wesleyan University

In article <RckqVB1w165w@student.business.uwo.ca>, r4smith@student.business.uwo.ca (Richard Smith) writes:
> It's called "Deploration sur la morte d'Ockeghem" and is famous for its 
> staggeringly low bass voice.
> 
> r4smith@student.business.uwo.ca (Richard Smith)
> Western Business School  --  London, Ontario

How low?

Peter Hoogenboom
phoogenb@ucs.indiana.edu
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Tangent Re: Wagner and Jews?
Date: 12 Dec 92 18:39:17 GMT
Organization: Harvard Math Department

In article <1992Dec10.150826.4652@credence.com>
jeffw@or.credence.com (Jeff Winslow) writes:
>[...]
>"Edify" applied to music is a ridiculous adjective,[...]

Er, as an _adjective_ "edify" would be ridiculous in most contexts... ;-)

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Requia
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Sun, 13 Dec 1992 16:35:32 GMT

In article <1992Dec11.153934.18682@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
>>Contrary to the recent assertion by one of our opera buffs that non-opera
>>classical music fans invariably point to symphonies as the only music they
>>listen to, I'm a devoted fan of Requiems (Requia if your Latin's not so
>                                           ^^^^^^
>ah... Requiem dona eis, domine, et lux perpetua luceat eis. 

Make that "Requiem aeternam dona eis, Domine, et lux perpetua luceat eis."
		   ^^^^^^^^
>Requiem is the singular accusative  of requies.  The plural would be 
>requies (confirmation anyone? *my* Latin is rusty).

Quite correct.  Of course, the only reason that we call the piece a 
Requiem is that the first word of the first line is "Requiem," as you
say, the accusative of requies.  "Grant them eternal rest, Lord, and
let perpetual light shine on them."

Accusative plural would be "requies."  The plural in English is "Requiems."

>>	Durufle
>>	Faure
>>	Gilles (need a pointer to a CD recording of this)
>

Cordoso, Victoria, etc.  There are lots of early ones.  Let's not forget
Verdi, Brahms, etc.  Durufle is still my favorite.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
From: hellerS@moravian.edu (sjh)
Newsgroups: rec.music.classical
Subject: Re: Prokoviev , Scriabin, Piano works
Date: 10 Dec 92 03:52:04 GMT
Distribution: na

In <CB.92Dec8121946@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

>Xilin Jia writes:

>   1) I first listened to Prokofiev's 3rd concerto tonight.  It was a 
>   recording by Martha Argerich with The Berliner Philharmonikers and 
>   Abbado.  It was so beautiful.  Argerich's play was marvelous.  
>   My questions are: Who is Martha Argerich?  Is she really that good?
>   What other recordings of this work are good or better?

>If you like Argerich's version you might not like my favorite, by Van
>Cliburn.  If you think Cliburn offers only flashy romantic showmanship,
>all I can say is that it works perfectly with Prokofiev.

I still consider Van Cliburn's rendition of Prokofiev's 6th Sonata one of
the greatest! And his Barber Sonata is fine, also. These were released on
RCA (I think) together some time back (70's) and might be on CD now.

	Steve
Organization: City University of New York/ University Computer Center
Date: Tuesday, 15 Dec 1992 16:39:24 EST
From: Spencer Means <HSMBB@CUNYVM.BITNET>
Newsgroups: rec.music.classical
Subject: Re: Cecilia Bartoli

In article <1992Dec10.170825.29913@Princeton.EDU>, kmensch@calvin (Kevin Mensch)
says:
>
>In article <Bz0HI9.7EF@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad)
>writes:
>> In article <3090012@hplvec.LVLD.HP.COM> jonp@hplvec.LVLD.HP.COM (Jon
>Pennington) writes:
>>
>> >Does anyone have any insight on Cecilia Bartoli? I saw a review
>>
>I too was impressed with the recordings but had second thoughts after hearing
>her live.  It is a truly beautiful instrument, she can negoitiate rapid fire
>coloratura incredibly, is a wonderful artist, ...but the voice barely carries
>beyond the footlights.  She tends to push on anything above mezzo piano.

Not at all my experience in two New York halls (Avery Fisher and Alice Tully).
The voice is not large, but it projects well, and I never had a sense that it
was forced or "pushed."  This is an exciting, intelligent, and very charming
artist, recorded or live.

Spencer Means
hsmbb@cunyvm.bitnet
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Requiems was Re: Requia
Organization: Camex Inc., Boston MA
Date: Fri, 11 Dec 1992 12:05:28 EST

In article <1992Dec11.153934.18682@jhunix.hcf.jhu.edu>
velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:

>In article <r8ubopx@Unify.Com> dbrus.Unify.Com.ceb@unify.uucp (Caroline E.
Bryan) writes:

>>Contrary to the recent assertion by one of our opera buffs that non-opera
>>classical music fans invariably point to symphonies as the only music they
>>listen to, I'm a devoted fan of Requiems (Requia if your Latin's not so
                                            ^^^^^^ 
>Requiem is the singular accusative of requies.  The plural would be requies
>(confirmation anyone?  *my* Latin is rusty).

No need for Latin here.  Requiem is an English word.  The plural is
requiems.  Sometimes we can be too smart for our own good.  Maybe we
should give this one a rest.  (See what I mean?)  %^)

Chris Ischay
chrisi@camex.com
Newsgroups: rec.music.classical
From: rbrooks1@cc.swarthmore.edu (Rob Brooks)
Subject: Re: Greatest living conductors
Organization: Swarthmore College
Date: Fri, 18 Dec 1992 16:33:25 GMT

In article <1992Dec17.163848.21628@msuinfo.cl.msu.edu>,
fernande@cps.msu.edu (Jose Roberto Fernandez) writes:
> 
> Inspired by the recent thread about greatest living pianists, I
> propose another thread on the "greatest living conductors."  So,
> who do you think are the greatest living (or recently died) 
> conductors?  I nominate the following for the top tier:
> 
> *Karajan, Solti, Giulini, and *Bernstein
> (additional possibilities being Abbado, Haitink, and Maazel)
> (*-died recently)
> -- 
> Jose Roberto Fernandez
> fernande@cps.msu.edu
> Computer Science
> Mich. St. Univ.


Hmm, what about von Dohnanyi?  I saw him in Boston with the Cleveland
orchestra a couple of years ago and they gave one of the most exciting
performances of Beethoven 7 I've heard yet.

Rob (rbrooks1@cc.swarthmore.edu)