HDTenEightyP/NetNews huggingface dataset:
From: casseres@apple.com (David Casseres)
Newsgroups: rec.music.classical
Subject: Re: Why LPs are superior to CDs (was Re: Why switch to CD?)
Date: 8 Oct 92 17:29:27 GMT
Followup-To: rec.music.classical
Organization: Apple Computer Inc.

In article <1992Oct7.170702.5468@infodev.cam.ac.uk>,
bemj1@aldham.cl.cam.ac.uk (Bernie Jones) wrote:

> Incidentally, another problem with CDs is that they just don't fly well.
> Throw an LP out of the window and it will frisbee quite happily. CDs, OTOH,
> are simply too light - totlly useless. (For information I HAVE tried this, 
> but it was with a Tiffany CD, so that's OK).
> Mind you, I can easily stand an anglepoise lamp on my Ring Cycle boxed-set
> you couldn't do that with LPS (well, not if they were upright anyway). 
> The shiny discs come into their own as beermats too!

Also, microwaving an LP is a very bad idea, whereas microwaving a CD is
kinda fun.

(Hey there, yes you can try this at home, kids.  Set the timer for only 5
seconds, and put the CD shiny side up on a paper towel.  Watch the pretty
sparks dance where the music used to be.  And if this dumb stunt burns out
your Mom's microwave, well, it ain't my fault).

--

David Casseres
Exclaimer: Wow!
From: Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.)
Newsgroups: rec.music.classical
Subject: Re: Need opinion on Beethoven's FIDELIO
Date: 13 Oct 92 01:50:31 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

As it is with most 19 century operas I say go with Solti!! I think mine
is superb
Newsgroups: rec.music.classical
From: young7905@iscsvax.uni.edu
Newsgroups: rec.music.classical
Subject: Re:Mahler's 3rd Symphony
Date: 13 Oct 92 19:30:17 GMT
Article-I.D.: iscsvax.1992Oct14.003017.7617
Organization: University of Northern Iowa


      If anyone's interested, personally I believe I have heard the  most
beautiful piece of music ever written. The piece is Mahler's third symphony.
The end of the last movement of this piece is  heart wrenching in it's
simplicity of  melody and harmony. This piece moved my sould beyond any words
and I would recomend anyone who loves music to at least check out the last nine
minutes of the symphony. Believe me, if you do the result could change your
life.
From: mgresham@artsnet.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 16 Oct 92 04:29:28 GMT
Organization: ARTSNET,  Atlanta (Norcross) Georgia

alves@calvin.usc.edu (William Alves) writes:

> What is the basis for such a statement? It is true that there were cross-
> influences between several of the minimalists in the mid-1960's, but I
> see no evidence for Glass's style of the time to have been "derived from"
> Reich, Riley, or Young. Consider the following chronology:
> 
>  1958 Reich & Glass attend Juilliard

You might add that Peter Schickele attended Julliard concurrently with
Glass, and that Glass much admired Schickele as a composer, stating that
[not an exact quote] Schickele "made composing look easy...could compose
in any style."

You also have to ask what impact these people and Young had on
the Beatles, via Yoko Ono later on.  And vice versa.  (I've always
contended that the Beatles must have had sufficient encounter
with Stockhausen in Hamburg very early on, for that matter.)

I also contend that the visual arts played an important part in
influencing various composers from the late 50s through the
mid-seventies.  Glass was surely influenced by Chuck Close
(whose portrait "Phil" made Glass "anonymously famous" by being
reproduced in art books long before Glass became a household
name in music circles).

--Mark Gresham

dscatl!mgresham@ gatech.edu

=====
From: bruce@uxb.liv.ac.uk (Bruce Stephens)
Newsgroups: rec.music.classical
Subject: Re: Alternate Classical-Music FAQ Memo
Date: 16 Oct 92 13:39:37 GMT
	<MARCA.92Oct14200258@wintermute.ncsa.uiuc.edu>
Organization: Centre for Mathematical Software Research, Univ. Liverpool, UK

>>>>> On 15 Oct 92 01:02:58 GMT, marca@ncsa.uiuc.edu (Marc Andreessen) said:

> In article <1992Oct13.164910.18433@newstand.syr.edu>
> jmwobus@mailbox.syr.EDU (John M. Wobus) writes:

>     Actually, believe it or not, within these constraints, today's
>     composers put a lot of attention into making the music listenable
>     and to writing something which will get played.  The idea that the
>     average composer of contemporary music completely ignores his
>     audience is simply not true.

> Not to sound like an uneducated boor (which, naturally, I am), can you
> name some of these composers?  I.e., those who write compositions that
> won't make me leap at my CD player, smash my fist down on the ``STOP
> DAMMIT STOP'' button, and hurl the disc into a blast furnace.

Well, how about John Adams?  I wouldn't have thought many people would
get violent on hearing "Shaker Loops", for example.
--
Bruce
From: midkiff@btr.btr.com (Neil E. Midkiff  midkiff@btr.com)
Newsgroups: rec.music.classical
Subject: Choral concert Saturday 10/18 in Mountain View
Date: 14 Oct 92 06:50:02 GMT
Distribution: ba
Organization: BTR Public Access UNIX, MtnView CA. For info contact: info@BTR.COM

SCHOLA CANTORUM presents

O L D   W O R L D    T R E A S U R E S

Saturday, October 17, 8:00 pm

Mountain View Center for the Performing Arts
(Castro and Mercy Streets, Mountain View, California)


Schola Cantorum begins its 29th season of choral music with a program of
sacred and secular masterworks by European composers.  The 120-voice
chorus, conducted by Gregory Wait of the Stanford music faculty, has been 
called "the area's finest independent choral society" by the Peninsula 
Times-Tribune.

The program begins with an eight-part setting of the "Crucifixus" by Antonio
Lotti, Bach's motet "Singet dem Herrn ein neues Lied" for double chorus,
three Graduals by Anton Bruckner, and Ralph Vaughan Williams's Mass in
G minor for soloists and double chorus.  After the intermission, five 
choral excerpts from Rachmaninoff's recently rediscovered Liturgy of 
St. John Chrysostom (sung in Slavonic) and the "Praelusio" from Carl Orff's
"Catulli Carmina" conclude the concert.

Tickets ($14 adult; $12 student/senior; $5 children [to age 12]) are 
available by calling the Mountain View Center for the Performing Arts 
box office at (415)903-6000.  Information on season subscriptions is 
available from the Schola Cantorum office at (415)324-0922.
Newsgroups: rec.music.classical
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: EMI price increase
Date: 12 Oct 1992 11:31:09 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <Bw0nuF.926@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <92283.135948MHUGHES@MIAMIU.BITNET> <MHUGHES@MIAMIU.BITNET> writes:
>
>>My local classical CD supplier said that he has been informed from EMI that
>>they plan to increase their per CD prices by $2.  That takes some nerve in
>>this day of dropping costs of CD production.
>
>Think it through, please: the costs of pressing the silver disk itself
>are the tiniest part of the expense that the recording needs to earn
>back.

Why, then, are CDs about twice as expensive as cassettes, when the cost of
manufacturing is only about 10%-20% greater? The Los Angeles Times ran a
story analyzing the manufacturing costs of each. The costs of the hiring
of the studio, payment of the musicians, royalties, etc. was much less per
disc than the cost of manufacturing. Of course, they were talking mainly
about pop CDs, but still, why the great difference in cost of the two
media? The answer, said several sources quoted in the story, is that the
record companies have been reluctant to start a price war with their com-
petition since the price of manufacturing CDs has dropped significantly
since the mid 80's. One source said that the record companies assumed that
inflation would catch up, but inflation slowed to a crawl and the record
companies are still raking it in. I agree with the first poster. It takes
a lot of nerve to raise the price of CDs even more.

Bill Alves
From: maverick@fir.CS.Berkeley.EDU (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Music Theory Question
Date: 16 Oct 1992 19:55:12 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: fir.cs.berkeley.edu

In article <Oct16.190508.13847@yuma.ACNS.ColoState.EDU>, hurben@lamar.ColoState.EDU (Mike Hurben) writes:
[question about qualities of keys]

There are two physical reasons why different keys sound
different: (1) the "natural" keys of such instruments as have
them -- the string instruments are tuned with open strings C,
G, D, A, and E, and the sound of open strings is very special.
(Also, multiple stops and Alberti figures are much easier when
they include open strings.) (2) At one time, instruments were
tuned to "favor" keys closer to C -- mostly, this no longer
applies.

My own key feeling is strictly relative: adding a flat in the
key signature is a move in the subdominant direction, adding a
sharp is a dominant move: the relationship of keys is a matter
of degrees of dominantness or subdominantness.  Eb is triply
subdominant with respect to C in this sense.  I perceive
subdominantness generally as a lessening of "brightness" or
tension.  Charles Rosen makes some passing reference to
similar ideas of his and Tovey's in _The Classical Style_.

	Vance
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Vox Box (Was Re: Brendel's Beethoven on Vox Box CDs)
Date: 14 Oct 92 16:30:51 GMT
	<ZASRBSC5@cc.swarthmore.edu>
Organization: pubs
In-reply-to: abrocke1@cc.swarthmore.edu's message of Wed, 14 Oct 1992 04:02:10 GMT

Aaron Brockett writes:

   This seems like a perfect opportunity to pose a question about the
   general quality of the performances on the Vox label. I know it's
   often misleading to attept to generalize about the output of an
   entire company, but if anyone could do so, I'd appreciate it. Given
   their price, I would be able to explore a lot of repetoire I might
   otherwise not be able to afford. So, are the performances decent? Are
   they worth the 4-6 dollars? Please enlighten me.

I've had great results with Vox over the years.  The only problem with
them, in LP days, was poor pressings, but that's no longer an issue.
They tend to use the performers who are just below star level, but
typically very well-suited to the music, such as Georgy Sandor for
Bartok.  I assume the Brendel set, from before he was a star, is a hot
property for Vox.  I can't really remember any bad sets, and there are
lots of good sets.  I especially recommend, if they ever release it,
their Nielsen piano box, played by a Dane who knew N. and is immersed in
the style (but whose name I can't quite retrieve at the moment).  Since
there are relatively few "complete" sets done by genuine stars, Vox
typically has little direct competition, but I'd say, for example, their
Satie set stands up well to Ciccolini's, and their Ravel orchestra box
also stands up against stiff competition.  I always had the impression
that these sets were conceived by people who loved music.

Chris Brewster
cb@cray.com
From: jeffw@or.credence.com (Jeff Winslow)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 16 Oct 92 01:36:09 GMT
Organization: Credence Systems Corp. Beaverton, OR

In article <1992Oct13.212828.24507@dartvax.dartmouth.edu> Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:
|On the issue of Glass it always wonderful to see people embrace
|modernity for modernity's sake. However I like WIlliams, Morricone but
|Glass is just an also-ran in the twentieth century. For those who
|prefer to listen to boring music on occasion then you've found a
|perfect man in Glass. Good music still has a duty to the common people.
|Its not the people that are turning away from classical music its the
|fact that Glass et al. are FORCING them away in droves with this
|derivative noise. Great operas meet both the emotional and
|entertainment aspects in people Glass does neither. 

Since Glass is just barely classical music it's unlikely he's forcing anybody
away from it. If you're going to make outlandish claims try backing them
up for a change.

Fella, you've got the wrong newsgroup. 

Sure your name isn't Brian K. Yoder?

						Jeff Winslow
From: ash50842@uxa.cso.uiuc.edu (Dres)
Newsgroups: rec.music.classical
Subject: Re: The Abuse of Classical Music
Date: 12 Oct 92 14:33:05 GMT
Organization: University of Illinois at Urbana

fernande@cps.msu.edu (Jose Roberto Fernandez) writes:

>In article <Oct12.024350.88033@yuma.ACNS.ColoState.EDU> hurben@lamar.ColoState.EDU (Mike Hurben) writes:
>>I was wondering if anyone has yet compiled a short list of the most abused
>>pieces of classical music, i.e. music used in stupid commercials, etc...
>>
>>Personally, I can't think of anything that gets picked on as badly as "The Ride
>>of the Valkyries" from Wagner's Die Walkure.
>For starters, the rec.music.classical FAQ has a list "What is that music
>in [insert TV show/movie here]?"

>One of the greatest abuses to me is the (over)use of Gershwin's Rhapsody
>in Blue in the United Airlines commercials.  Hearing it over and over
>(in short excerpt form) has seriously harmed my enjoyment of that piece.

Are you kidding?  That's not the worst, man.  That's bad, but it's not the 
worst.  THe worst is....<drum roll, Paul>
	Strauss's Blue Danube waltz with various sounds in place of those
two notes.  You know what I'm talking about.

-Dres
(Apologies if this is not the Blue Danube Waltz I'm thinking about, my 
memory of music is often faulty.)
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Brendel's Beethoven on Vox Box CDs
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Fri, 9 Oct 1992 22:28:38 GMT

In article <CB.92Oct9115755@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>Bryan Higgins:
>   >Can anyone tell me when the ultra-cheap (each "Vox Box" volume is 
>   >two discs for $8 at Tower Classics in Berkeley) Brendel recordings 
>   >of the Beethoven piano sonatas on Vox were recorded?

>Roger Lustig:
>   Around 1960, I think.  I find them useful mainly for comparison, 
>   though some ofthe performances are very good.  Also, you get the 
>   *complete* Beethoven piano music, which is a lot.

>I have trouble understanding how recordings are "useful mainly for
>comparison".  Comparing what with what?  For such a highly reputed
>series (which I haven't heard), I can't quite figure out this comment.

Comparison with later Brendel, other people's performances.  Some weren't
recorded very elegantly, I find.  Also, as I said, they're useful for
reference, being competent performances of *everything*.

Roger
>Chris Brewster
>cb@cray.com
>


Newsgroups: rec.music.classical
From: rbrooks1@cc.swarthmore.edu (Rob Brooks)
Subject: Re: Brahms 3rd Symphony (Repost)
Organization: Swarthmore College
Date: Sat, 10 Oct 1992 15:52:43 GMT

In article <92282.173939ECOSLB@BYUVM.BITNET>, <ECOSLB@BYUVM.BITNET> writes:
> 
> Sorry if this shows up twice, but I'm not sure that the original ever
> made it out.
> 
> I'm looking for a good recording of Brahms 3rd and would appreciate
> your recommendations.  The recordings I have seen in local stores are
> Szell (Sony), Bernstein(Sony and DG), Karajan (3 different recordings),
> and Toscanini.  Comments on these recordings are particularly appreciated,
> but I am also glad to hear of others I should keep an eye out for.  The
> Szell, Bernstein Sony and the 1964(?) Karajan are coupled with the 2nd
> symphony and I am also interested in the quality of those performances.
> If there are any requests, I'll post a summary of responses to the net.
> Thanks
> 
> Steve Boyce
> BYU, Dept. of Economics
> Internet:  ecoslb@vm.byu.edu
> 
Never heard Bernsteins's 3rd but both Szell's and Karajan's are at the top
of my list.  Karajan's coupling with the 2nd from  '64 is one of the most
valued discs I own - the finale of the second is absolutely overpowering. 
The first movement of Szell's performance of the 2nd seems to wander every
now and then but overall both performances are certainly something to hear
and own.  Karajan's most recent recordings on DG aren't quite as wonderful
but then again, any Karajan is good Karajan.

Rob
From: cm@impmh.uucp (Colin Manning)
Newsgroups: rec.music.classical
Subject: Re: Recommendations wanted: Rachmaninov Piano Con. 3
Date: 16 Oct 92 14:23:31 GMT
Organization: Integrated Micro Products Ltd

In <CB.92Oct14182408@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

>Jim Mann writes [of Rach 3]:

>   The Van Cliburn recording is very good. It's available on CD
>   with one other piano concerto (the Prokofiev 3rd, I think).
>                                  ^^^^^^^^^^^^^^^^^^ 
>Yes!  This is my favorite recording of one of my favorite works, and I
>can even explain why: Cliburn does it slower, with more emphasis and
>expansion, than the competition--in other words, more like a romantic
>concerto.  The wonderful detailing is brought out, along with the humor
>and over-all energy.  The style of this work shouldn't be obsessively
>hard-edged and frantically fast, which is how almost everyone else does
>it, such as John Browning.  (The "should" I just used is based only on
>how nice it is when you *don't* do it that way.)  Give this one a try.

>Chris Brewster
>cb@cray.com

According to the catalog in my local record store - which claims to
be totally comprehensive - there is no such recording. It lists about 30
others. Is it possible this is only available in the US ? (I'm in the UK).
Could someone please mention the record company and reference ?
- Many thanks.

-- 
Colin Manning     cm@impmh.uucp      Tel: +44 753 516599
Newsgroups: rec.music.classical
From: ssc@nwu.edu (Steven Chung)
Subject: Re: Dr. Faustus
Originator: schung@casbah.acns.nwu.edu
Organization: Northwestern University, Evanston Illinois.
Date: Sat, 10 Oct 1992 14:33:01 GMT

In article <1992Oct9.220333.16215@husc3.harvard.edu> vnguyen@husc8.harvard.edu writes:
# 
# The allusion to music is rather incidental for the specter behind
# Adrian Leverkuhn is no-one but Friedrich Nietzsche.  

"Noone but" seems a bit too strong--especially considering that there is a
lot of Mann himself in Adrian (and Serenus too, for that matter).  The trip
to Italy, for instance, is pretty autobiographical.
I wonder if Hans Pfitzner had anything to do with Mann's views on music
"selling its soul to the devil."

-- 
ssc@nwu.edu | Nam castum esse decet pium poetam (Catullus 16)
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: sources of new ridgy black stuff
Date: 8 Oct 92 18:54:55 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

What companies still put interesting stuff out on LP (meaning *not* Placido
Pavarotti Sings Carmina Burana's Greatest Four Seasons), and where do you
get their catalogues and order it from?  ECM is the only one I see in the
shops here.

I haven't bought a classical recording new in the four years or so since
CD took over.  I expect CD to be superseded by a later technology before
I get a player; with a few thousand records, my new clarinets, a filing
cabinet full of sheet music and the improvements to Radio 3, I can wait out
this siege a long time...

Are Melodiya LPs still available from anywhere?  BIS?  Supraphon?

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
From: kevinm@ocf.berkeley.edu (Kevin Miller)
Newsgroups: rec.music.classical
Subject: I'm looking for suggestions....
Date: 11 Oct 92 20:37:41 GMT
Distribution: usa
Organization: U.C. Berkeley Open Computing Facility
NNTP-Posting-Host: tornado.berkeley.edu

I am relatively new to the area of classical music and was looking for 
suggestions about what CD's I should consider buying.

In general, I like "bold" music--stuff that reaches out and pull you into the
music.  Examples I know off the top of my head are the William Tell Overture,
and the theme to 2001:A Space Odyssey.  I guess many marches fall into this
category as well.

I would appreciate any suggestions as to what CD's to audition in the hopes 
of purchasing.

What is the general consensus about Surround Sound classical CD's?  I know
they aren't all that popular, but I was wondering if somewone had heard one.
Please E-mail me with any replies.  Thanks!

Kevin
kevinm@ocf.berkeley.edu

P.S.  I read the FAQ and was quite impressed.  Whoever spent the time to put 
that together should be commended!
From: RHASKINS@UMAB.BITNET (Robert Haskins)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker
Date: 13 Oct 92 14:17:13 GMT
Organization: University of Maryland at Baltimore

All I can say is, he must really need the money!  More seriously (but
he probably _does_ need the money), I doubt the music on the trailer
is his -- trailer music often is different from any music in the soundtrack.

I'm more intrigued by the statement Glass is working on a symphonic treatmetn
of David Bowie's _Low_ album -- got to love the concept!

Did anybody hear _the Voyage_ last night?  I listened to the first act,
and liked the music, but the singers were so bloody foul I turned it off
after Act I (actually, I turned it off after the stupid interviews with
Glass/David Henry Hwang and Tim Page -- both equally foul).  Maybe I
should have waited to hear Tatiana Troyanos. Oh well.

Bob
Bob <RHASKINS@UMAB.BITNET>
-----------------------------------------------------------------
"The world is everything that is the case" -- Ludwig Wittgenstein
-----------------------------------------------------------------
Xref: sparky rec.music.classical:14100 rec.music.early:1354
From: aj3u@larch.cs.virginia.edu (Asim Jalis)
Newsgroups: rec.music.classical,rec.music.early
Subject: Looking Bach Keyboard Works by Gould on Tape
Date: 12 Oct 92 19:24:32 GMT
Distribution: rec
Organization: University of Virginia, Charlottesville, VA 22903

I want to buy Bach's keyboard music performed by Glenn Gould, for
audio cassettes.  So what I am looking for: names/addresses of
U.S. mail-order companies, or names of stores in the Northern
Virginia/Washington DC, that might carry an exhaustive collection
of these.

I would really appreciate e-mail responses.  Thanks.


Asim Jalis.
Newsgroups: rec.music.classical
From: pthomas@magnus.acs.ohio-state.edu (Pavithran D Thomas)
Subject: Re: Re: Orchestras/conductors
Organization: The Ohio State University
Date: Wed, 7 Oct 1992 12:49:28 GMT

In article <22810020@hpgrla.gr.hp.com> rms@hpgrla.gr.hp.com (Rick Scherer) writ
es:
>I have been trying to collect the same information.  Here is my current list:
>
>Atlanta            Levi
.
.
.
>Columbus      Badea
               Alessandro Siciliano (Badea's successor, presently)
.
.
.
>Utah               Silverstein
>
>---
>Rick Scherer

-pavi-
-- 
_____________________________________________________________________________
Pavithran D. Thomas    	        	        pavi@rcgl1.eng.ohio-state.edu
Graduate Student / Systems Programmer       pthomas@magnus.acs.ohio-state.edu
        Dept. of Mechanical Engineering, The Ohio State University
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Re: Beatles and the canon
Date: 15 Oct 92 20:51:50 GMT
Article-I.D.: news.Bw6KME.2wK
Organization: University of Delaware

In article <CB.92Oct14183424@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

>Crosby for W.Chr., you know who for Yesterday.  (And
>Porter's "Yesterdays" is just as good, though a few magnitudes less
>well-known I guess.)

Not well known to me at all.  I know only Jerome Kern's song by this
title, Chris!  :-):-)

Jon
Organization: Senior, Music, Carnegie Mellon, Pittsburgh, PA