HDTenEightyP/NetNews huggingface dataset:
From: bad@pismo.sw.stratus.com (Bruce Dumes)
Newsgroups: rec.music.classical
Subject: records (vinyl) for sale
Date: 31 Dec 1992 14:49:35 GMT
Organization: Stratus Computer, Software Engineering
Distribution: world
NNTP-Posting-Host: pismo.sw.stratus.com

Vinyl for sale!!!!!!!!!!!!

Brahms          Concerto in D Major Stern/Beecham  ML4530  VG+/VG+         $8
Brahms          Concerto no2 Horowitz w/Toscanini LCT1025(White Dog)
                                                                VG+/VG+    $10
Dvorak          New World Symphony  phase 4  NM/NM                         $8
Mozart          Piano Sonatas VOX BOX Stereo SVBX 5428 NM/NM               $6
Mozart          Sonatas for violin and harps sl 52 VG+/VG+ mono            $4
Tchaikovsky     Symphony No.6 Rodzinski ML4051 MONO VG+/VG+                $4
Firebird Suite / Night On Bald Mountain phase 4 stereo NM/NM               $8

Ratings are cover/vinyl.



-- 
Bruce Dumes			| "Bruce is too obsessed with the Beatles"   |
Stratus Computer, Inc.		|   --comment on report card from Spring '64 |
bad@sw.stratus.com              
508-460-2816                    
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: NEW New Grove?
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 22 Dec 1992 03:44:21 GMT

In article <basinski-211292154258@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>   The Opera dictionary is in preparation, and I think I heard that the
>main work going on at the moment on the NGDMM was getting it all in 
>electronic format, with an eye to a CD release perhaps?

Operagrove is out.  A colleague of mine went to the publication party
a few weeks ago.

R


Newsgroups: rec.music.classical
From: naras@cda.mrs.umn.edu (B. Narasimhan)
Subject: Re: favorite piano concertos
Organization: University of Minnesota - Morris
Date: Mon, 21 Dec 1992 18:41:14 GMT

Most of my favourites have already been mentioned, but
not (at least to my knowledge) Brahms #1.

-- 
B. Narasimhan                             naras@cda.mrs.umn.edu
Division of Science and Math.
The University of Minnesota at Morris
Morris, MN 56267
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Music by Paul Lansky on Bridge Records - an appreciative review.
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Tue, 29 Dec 1992 16:18:55 GMT

If anyone is interested, Paul Lansky is on Internet:

	paul@silvertone.princeton.edu


Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
From: 00hfstahlke@leo.bsuvc.bsu.edu
Newsgroups: rec.music.classical
Subject: Re: Requia
Date: 21 Dec 92 18:12:41 GMT
Organization: Ball State University, Muncie, In - Univ. Computing Svc's

Gabe,

> 	One xerox, two xeroces.

Should obviously be "xerokes" (three syllables).  Let's not Latinize Greek 
roots.              
                                                               
> 	One EMACS process, two EMACES.

Unclear.  Latin and Greek both use x to represent the segment sequence "cs" or
"ks".  I'm not sure what to consider EMACS.  How about the neuter plural
"EMACIA"?   Grammatically bad because -x words are rarely neuter, but I like
the idea.
 
> 	One UNIX machine, two UNICES.

Clearly Greek, at least to me, and so UNIKES, pronounced with three syllables
and should not be interpreted to mean "Good Victory."

Herb Stahlke
Ball State University
Newsgroups: rec.music.classical
From: lungtt@gus.ecn.purdue.edu (Terence T. Lung)
Subject: Re: Beginning a classical collection
Organization: Purdue University Engineering Computer Network
Date: Sat, 2 Jan 1993 01:09:49 GMT

In article <Dec.30.01.14.07.1992.15387@pilot.njin.net> rhutchin@pilot.njin.net (Roland Hutchinson) writes:
>In <1992Dec28.091408.16539@leland.Stanford.EDU> paulxxxx@leland.Stanford.EDU (paulastya gupta) writes:
>
>>Hello!  Questions from an ignormaus:
>
>As many others have said: libraries and classical radio stations can
>help you quite a bit, assuming there still is a classical radio
>station in the Bay Area. [Note ironic grimace of former KQED
>subscriber.  It's all news and public affairs now.]  Stanford has a
>superb (non-circulating) collection of recordings in its music
>library.
KQED is non-music now?  What a shame.  Is KKHI still there?

>But no one has yet mentioned one seemingly obvious thing to do: go to
>some concerts!
Wow!  I don't think so unless you know what you're doing.
Do you have $$$ to spare for this?  Yes.  Live performances
add the extra dimension of participation--audience-performer
feedback and can, by all-means be an awesome experience and
worth just about any $$$.  But if you don't know what you're
doing, it'll drain more than your wallet.
Newsgroups: rec.music.classical
From: will@ogre.cica.indiana.edu (William Sadler)
Subject: Re: Single-volume reference books: Concise Grove? (almost a faq)
Organization: Indiana University
Date: Wed, 30 Dec 1992 16:21:55 GMT

In <RSHAPIRO.92Dec29115334@kariba.bbn.com> rshapiro@bbn.com (Richard Shapiro) writes:

>In the faq list, in answer to the question:

>   Q7. What are the essential reference books to classical music?

>I see that, of course, the complete Grove is mentioned but, somewhat
>surprisingly, the single-volume Concise Grove is not. Was the latter
>left out intentionally because it's unsatisfactory in some way or was
>this just an oversight? I'd like a thorough, up-to-date, affordable,
>single-volume general reference and, at first glance, the Concise
>Grove looks like the one to get. Should I reconsider?

For a single volume reference I would suggest Willi Apel's Harvard Dictionary
of Music (the revised edition is OK, but the original was better in
many ways).  I'm not familiar with the Concise Grove, but that is 
because I always use the non-concise one.

To avoid having to read all of rec.music.classical.thisrecordingisbetterthan
thatone  you can get a threaded news reader like nn or trn.  Makes all
of the difference in the world :-)

Will



--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
Newsgroups: rec.music.classical
From: rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy)
Subject: Re: Valkyrie recordings
Reply-To: rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy)
Organization: Columbia University
Date: Tue, 29 Dec 1992 19:14:05 GMT

I liked the acts III and I a lot and would recommend the following
recordings:

1) If you are interested in the entire set then go in for 
   FURTWANGLER recording on Vortuoso/EMI.  (Virtuoso is much cheaper
than the EMI recording)

2) For act III, I liked Solti's recording with Flagstad.  
3) For act I, I liked Walter's recording with Melchoir.
From: potoole@maths.tcd.ie (Peter O'Toole)
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Date: 21 Dec 92 17:12:15 GMT
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.

In article <1992Dec21.011843.3283@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>
>I must admit I'm starting to enjoy these "Greatest All-Time" and "Favorite" 
>threads, so I'm starting another one.  :-)   The question is, What is your
>favorite piano concerto?
>

There can't be only one!

	Tchaikovsky: Piano concerto no.1 op.23
	Rachmaninov: Piano concerto no.2 op.18
	Greig: Concerto in Am
	Busoni: Concerto in C op.39
	
etc.

Peter O'Toole,
Trinity College Dublin.
Newsgroups: rec.music.classical
From: rwilmer@carrier.mitre.org (R. Wilmer)
Subject: Re: Saxophone, use of -
Organization: Mitre Corporation, McLean, VA
Date: Tue, 22 Dec 1992 15:29:41 GMT

In article <1992Dec22.151611.8187@linus.mitre.org> rwilmer@carrier.mitre.org (R. Wilmer) writes:
>In article <1992Dec22.095212.26084@ulci20.unil.ch> jwenger@ulci06.unil.ch () writes:
>>
> 
> >Dear net.folks,
> >
> >Friends and I were chating about music in general, and saxophones in
> >particular. No one could mention a piece of classical music, orchestral,
> >chamber or other, where one or more sax were used. Can you?
>
>Jacques Ibert wrote some good music for sax.  Arnold Bax should have.
>

Antonio Vivaldi would have.
From: ceb@dbrus.Unify.Com (Caroline E. Bryan)
Newsgroups: rec.music.classical
Subject: Re: Beginning a classical collection
Date: 31 Dec 92 20:45:42 GMT
Organization: /usr/lib/news/organization

In article <1992Dec30.224749.5591@fid.morgan.com> apter@fid.morgan.com (Steve Apter) writes:
>In article <1992Dec30.221729.3597@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>>In article <1992Dec30.205134.23099@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>>>You're in luck!  There's a book called "Who's Afraid of Classical Music,"
>>>by Michael Walsh....
>> ... The book trivializes classical music, and it's laden with errors,
>> besides.
>
> ... David Hurwitz' "Beethoven or Bust"?

Any input on Joan Kennedy's book on how to enjoy classical music?  (Yes,
Ted's ex-wife)

Carrie		ceb@rechenau.unify.com	x6244
+-------------------------------------------------------------------------+
| "Of life the mingled wine and brine I sit and sip pipslipsily." - Anon. |
+-------------------------------------------------------------------------+
Newsgroups: rec.music.classical
From: richardh@convex.com (Richard Hargrove)
Subject: Plastic recorder recommendations
Date: Mon, 28 Dec 1992 18:25:57 GMT
Organization: Engineering, CONVEX Computer Corp., Richardson, Tx., USA
Keywords: Plastic recorder recommendations
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

Early music netters:

I've been playing soprano and alto recorders for almost a year and am 
considering acquiring a tenor and a sopranino to extend my range.  I 
currently have an Aulos soprano, model 303 and an Aulos alto, model 509.
As an indicator of my current level of skill, I find the various movements 
in the Schott Boismortier Suites for recorder duo, Op. 17 (OFB-5 and 6),
to range from easy to sight read to requiring careful practice to pick
out the rhythm.

I specify plastic because it's my understanding that a good plastic 
recorder is better than a cheap wooden one, and I can't justify the
cost of a good wooden one.

It's also my understanding that the best plastic tenor is the Yamaha
Rothenburg.  I have been trying out an Aulos tenor, model 311, but 
don't like the sound in the upper register - the higher frequency
overtones are much too loud.  Any comments on this before I spring for 
the Yamaha?  Any suggestions for maker and model for the sopranino, 
possibly including don't bother?  Any comments at all?

On a related topic, some of the local recorder players here in Dallas
have said that unless you can get an exceptional instrument, wooden
recorders are generally no longer worth what you pay for them.  Comments?

Finally, I was wondering if anyone has any suggestions on how to handle
condensation in a plastic recorder?  I find that condensation builds up
and constricts air flow after only a few dozen bars of play.  When I
try to draw it out at a convenient time during play (usually during a rest), 
I produce a sound that is not aesthetically appealing.  I also find that
there are times when it is difficult to breathe, draw, and play in the
time allotted.

thanks,
Richard Hargrove
+-----------------------------------------------------------------------------+
| "La musique est une science qui veut qu'on rit et chant et danse"           |
| (Music is a science that would have one laugh and sing and dance.)          |
| -- Guillaume de Machaut (1300-77), both the greatest French poet and the    |
| greatest French composer of his century.  And if this is argument from      |
| authority, let us make the most of it!  ;-)                                 |
+-----------------------------------------------------------------------------+
| USPS: Convex Computer Corp.                             phone: 214/497-4323 |
|       3000 Waterview Pkwy.                                fax: 214/497-4441 |
|       Richardson, TX 75080                         net: richardh@convex.com |
+-----------------------------------------------------------------------------+

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: The BEST finale!
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 22 Dec 1992 21:22:17 GMT

broken@venison.bae.bellcore.com (Tony Brokenborough) writes:
: In article <JWA.92Dec19210857@vipunen.hut.fi>, jwa@vipunen.hut.fi (Jyrki J Wahlstedt) writes:
: |> In article <1992Dec18.170128.24867@walter.bellcore.com> broken@venison.bae.bellcore.com (Tony Brokenborough) writes:
: |> 
: |> >|> >
: |> >|> >Bruckner ????? 
: |> >|> >
: |> >|> >Can any good thing come from him ?
: |> >|> >
: |> >|> 
: |> >|> Quite a lot already has, m'laddie.
: |> >|> 
: |> 
: |> >Name something that has !!!!!!
: |> 
: |>   If you don't like Bruckner's music, keep your mouth shut! You
: |>   don't have to like it, but other people (including me) like it.
: |>   His music is *grand* and I've always thought that one can
: |>   judge people upon the music they like or don't like...
: |> 
: |>   Otherwise one is tempted to think that you forgot your smileys
: |>   after the statement.
: |> --
: |> !
: |> !	Jyrki Wahlstedt
: |> !		Jyrki.Wahlstedt@hut.fi
: |> !
: |> !  Our life is no dream, but it should and will perhaps become one.
: |> !
: 
: 
: Oh please shut up !!!!!!
: 
: 99% of the people on the net HATE's Bruckner's music. Even his contempories
: and the critics of his day hated his music. Whenever his music was critisized,
: he changed it !!!  That's why there are numerous 'originals' to many of his
: works. (The 'Bruckner problem' !!!!! )

Actually this is - as I strongly suspect you realise - complete BS.
Unless you have polled the net - have you? - your assertion about 99%
is laughable.

As for Bruckner's contemporaries and critics of his day - well he fell
fould of the anti-Wagner camp, led by Edward Hanslick, of course, but
even they couldn't deny the popularity of say the seventh symphony
which was termendously well received. As for his contemporaries, well
the greatest of them all, Gustav Mahler, was convinced enough of
Bruckn'ers talents to make a piano arrangement of the 4rd symphony and
also to conduct its belated premiere.

Yes, there are several version of a number of the symphonies,so what?
The 'Bruckner problem' as you call it (never heard anyone else refer
to it thus) pales into insignificance by the side of others - for
example, what constitutes an authentic (textually) performance of
Handel's Messiah?

: 
: I guess you haven't read the article posted here which talks about one 
: performer getting PHYSICALLY ILL after playing some of Bruckners junk !!! 

It was anecdotal, and may well have referred to the sheer physical
stamina required.

OK - you don't like Bruckner. I think you've made that abundantly
clear. Nevertheless, I think it's time you grew up and realised that
there must be something to his music, otherwise why do so many great
musicians want to perform it?
--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: xilin@northstar.dartmouth.edu
Newsgroups: rec.music.classical
Subject: Re: Ozawa
Date: 24 Dec 92 00:55:02 GMT
Organization: Project NORTHSTAR, Dartmouth College, Hanover, NH

In article <1992Dec23.205028.3211@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
>In article <CURTIS.92Dec23151026@sun1.aer.com> curtis@sun1.aer.com (Curtis Heisey) writes:
>>
>>My taste-related complaint is that Ozawa is just plain dull,
>>especially in the Baroque/Early Classical repertoire, which too often
>>sounds like a grind through of the notes.   
>>
>>I do think that Ozawa does a good job with the contemporary repertoire,
>>such as Saxton's *The Creation*.  I must admit that I've only heard Ozawa
>>when he leads the BSO, and I haven't heard the BSO on tour with Ozawa, so I 
>>can't judge Ozawa in his entirety as a conductor.
>
>I heard Ozawa (on the radio--too poor at the time) conducting several 
>Mahler symphonies in Paris about 10 years ago. If I remember right, there
>was the Second, played in Saint-Denis (where our kings were buried: decent
>republicans shuddered at the thought of an accident...).  I have an awed
>memory of Ozawa's direction, and kept the tape for a long time. It was
>gigantic, violent, disheveled.  But maybe today, with more years of Mahler
>enjoyment behind me, I would think differently.
>
>And I *love* the way his hair flies around when he conducts :-)
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
>
>-- 
>
>	Francois Velde
>


Everyone's hair can fly that way.
From: gordon@dcs.exeter.ac.uk (Gordon Watson)
Newsgroups: rec.music.classical
Subject: Re: Most drawn-out ending (Was: Best endings)
Date: 23 Dec 92 11:49:42 GMT
	<hudu.724825215@well.sf.ca.us>
Organization: Computer Science Dept. - University of Exeter. UK

>>>>> On 20 Dec 92 04:20:15 GMT, hudu@well.sf.ca.us (Scott Marley) said:

Scott> In <1992Dec19.230054.4363@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:


John>I'm gonna get flamed for this, but...

John>Beethoven's 5th Symphony.

John>Sounds like it's going to wrap up about five different times in the finale.

Scott> I'm with you on that one!

Me too.

Beethoven must have been inspired by Dudley Moore's famous
skit where he plays a peice that ends continually for 4/5 minutes.
Its been years since I saw this, but I remember having
stomach pains from uncontrollable laughter.
--
Gordon Watson
 UNIX Systems Manager
  Department of Computer Science
   University of Exeter
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: Saxophone, use of -
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Tue, 22 Dec 1992 18:52:15 GMT


In article <1992Dec22.174505.9461@viewlogic.com>, brad@buck.viewlogic.com (Bradford Kellogg) writes:
|> 
|> There is a substantial body of music for saxophone(s) written by a number
|> of French composers. It is mostly not well known, but if you hang out at
|> a music school, and if you have a college roommate who is a saxophone major,
|> (okay, such as myself) you get to hear quite a bit of it.

Clarification: my roommate was the sax major, not I.

|> 
|> - Bradford Kellogg

Ditto
Newsgroups: rec.music.classical
From: clavazzi@nyx.cs.du.edu (The_Doge)
Subject: Re: Bruckner (was: Re: Best finale)
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Sat, 2 Jan 93 05:24:09 GMT

In article <1993Jan1.232207.14710@magnus.acs.ohio-state.edu> mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis) writes:
>OK! OK! I can't restrain myself any longer!  I've been lurking here for a while
>reading all the Bruckner adulation, and I just have to add myself to the list 
>of those who couldn't care less about Bruckner.  Notice that I did not state 
>that I hate Bruckner.  That would imply that his music had some strong effect 
>on me, which it doesn't.  Bruckner moves me not at all.
[...]
	Not that I'm a big Bruckner fan myself, but I'm reminded of how 
Thomas Zimmerman, the former music librarian over at Rice University (where
I got my B.A. back in 1970) used to describe the difference between Mahler
and Bruckner.  It went something like this (and a-one and a-two...):
	"Imagine that you're walking in the Alps.  You look up at a majestic,
snow-covered mountain.  That is Mahler.  Then you look down at the wild 
flowers growing at your feet.  That is Bruckner."
	Well, I thought it was a nice image, anyway.....

The_Doge
ObQuote:	"An unalterable and unquestioned law of the musical world
		required that the German text of French operas sung by
		Swedish artists should be translated into Italian for the
		clearer understanding of English speaking audiences."
			-- Edith Wharton

Newsgroups: rec.music.classical
From: mikulska@comet.Princeton.EDU (Margaret Mikulska)
Subject: Re: Berg
Originator: news@nimaster
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Date: Tue, 22 Dec 1992 19:01:35 GMT

In article <1992Dec22.173348.9371@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>In article <1992Dec22.081306.28194@cs.unibo.it>, presti@cs.unibo.it (Enrico Presti) writes:
>|> Why nobody write something about Berg's opera? Compositions like the
>|> "Violinkonzert", "Streichquartett op.3" and "Lyrische Suite" interested me very
>|> much. Time ago i assisted to a representation of "Wozzeck", and it was a
>|> great experience. Would someone reply me?
>
>I'm not quite sure what you're asking, but if you want some comments on Wozzeck,
[...]
>Of course, the music is not exactly melodic in the old fashioned sense,
>with Berg following the 12 tone model. 

Not in WOZZECK.  There is no "12 tone model" in this opera - it's a
freely atonal work.  (LULU is dodecaphonic, though.)


-Margaret

Newsgroups: rec.music.classical
From: bseymour@encore.com (Burch Seymour)
Subject: Re: Rachmaninoff's "VESPERS"
Organization: Encore Computer Corporation
Date: Tue, 22 Dec 1992 20:29:48 GMT

UCSBILLB@ubvm.cc.buffalo.edu (William H Baumer) writes:

>In article <18750@mindlink.bc.ca>
>Nation@mindlink.bc.ca (Brian Nation) writes:
> 
>>
>There is an excellent recording of R's VESPERS by Robert Shaw and the
>Robert Shaw Festival Singers (not the large Atlanta Symphony Chorus)
>on Telarc, CD-80172, recorded in 1990 in Quercy, France.  This is, I
>think, one of Shaw's best, ranking with the old RS Chorale's CHRISTMAS
>HYMNS AND CAROLS.
> 
>William H. Baumer
>University at Buffalo

Great vocal sounds, but his tempi are way slow. Try the Washington
Choral Arts/Rostropovich (available from BMG club). Much more
exciting.

I haven't heard the Russian versions, but they are supposed to be
better still. Especially the low b-flat.

-bs-
Newsgroups: rec.music.classical