HDTenEightyP/NetNews huggingface dataset:
From: leva@ghost.dsi.unimi.it (paolo leva)
Subject: Re: Messeian recommendations?
Organization: Computer Science Dep. - Milan University
Date: Fri, 6 Nov 1992 10:39:46 GMT

martino@wpi.WPI.EDU (Robert Paul Martino Jr) writes:

>I have heard some interesting comments about this guy and would
>like to hear some of his stuff (I guess he just died recently).
>I'm joining the BMG classical CD club and they offer two of his works,
>Quartet for the End of Time and Turangalia-Symphonie (not sure I 
>spelled that right!) I was wondering if people could give me
>opinions of these two pieces, maybe a little description of what
>each is like so I could choose one to get at first to see if I like
>him.  Thanks in advance!

>Rob

>-- 
>Rob Martino                          |     (clever or particularly funny
>martino@wpi.wpi.edu                  |      philosophical quote here)


Hi Rob,

I suggest you to buy the Turangalila Symphonie recorded last year 
by CHUNG (I'm not sure about the spelling) on Deutsch Grammophone.
As an alternative you can try to find a recording of the same symphonie
by R. Chailly (Decca). I know he is a great interpreter of Messiaen but
I'm not sure whether he has already recorded that symphonie.

If you are interested in Messiaen's music I can also suggest you to
listen to 'la transfiguration de notre signeur Jesus christus' (sorry
for all the spelling mistakes, french is definetely an unknown language
to me). It is a religious work quiet long (one and an half hour) but
extremely beautiful.

Hi, Paolo.
Newsgroups: rec.music.classical
From: rdorocke@silver.ucs.indiana.edu (rob lawrence dorocke)
Subject: Re: Brahms
Organization: Indiana University
Date: Thu, 12 Nov 1992 05:20:09 GMT

In article <BxL30t.8FM@undergrad.math.waterloo.edu> kldawkin@undergrad.math.waterloo.edu (Kiwi) writes:
Newsgroups: rec.music.classical
>I've been dying to ask this question, and right now I feel the time is
>right. Don't ask why. Anyway, my question is this: Are there other
>people out there who think (as I do) that Brahms is highly overrated?
>That's not to say he didn't write great music... but I don't think
>he wrote a *lot* of great music. The strange thing about Brahms
>is that although I like a great deal of music from his time
>(music of contemporaries such as Liszt, Wagner, Bruch, Saint-Saens,
>Balakirev, etc.) I simply can't get into his music at all. 
>I would quite gladly be proven wrong, and I'd love it if people could
>post some suggestions to get me going. I have heard all the symphonies
>and I am unimpressed, as well as both piano concerti, the violin
>concerto, the double concerto, all of opp 117, 118, both major overtures,
>and some of the Hungarian dances. And other things which
>I forget.
>
Have you heard his German Requiem?  If that doesn't get you into Brahms, you
weren't ment/meant to admire his music.

Robb
>
>So... help out!
>
>Kyle.
>   ,------------------------------.,---------------------------------.   \._,
>  /   7   ,7  o             o     / kldawkins@cayley.waterloo.edu    /   < /
> /   /--<'   /   /  ,  /   /     / kldawkins@descartes.waterloo.edu /     ' 
>/  -'    `--'`--'`-'`-'`--'`-   / kldawkins@napier.waterloo.edu    /    /7 
>`------------------------------'`---------------------------------'    //  NZ!
>"Don't call me God. Call me Pope so I have something to aspire to."    '


Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Obscene lyrics
Keywords: obscene, lyrics, orff
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 10 Nov 1992 20:32:29 GMT

In article <swartz.721366759@sfu.ca> swartz@fraser.sfu.ca (Norman Swartz) writes:
>Jason Franks writes:
>
>> Does anyone know of any other "classical" album which took such
>> an action ...
>[i.e. of warning listeners that lyrics may be objectionable]?
>
>I have a recording of Orff's _Catulli Carmina_ by Heinrich
>Hollreiser, Vox PL 8640 (circa 1954) which suppresses the
>translation of some of the lyrics.  The English translation,
>alongside the Latin, has gaping holes with an italicized
>explanation: "For obvious reasons the translation of the
>following lines has been omitted."



The Ormandy LP contained the same suppression scheme, down to
the wording.  Did CBS just lift it?



>-- Norman Swartz, Simon Fraser University, Burnaby, BC, CANADA
>
>
From: pugh@pico.math.ucla.edu (David Pugh)
Newsgroups: rec.music.classical
Subject: Re: It's in the wrists.
Date: 10 Nov 92 00:29:08 GMT
Organization: UCLA Mathematics Department

In article <1dmo02INNt8h@darkstar.UCSC.EDU> haynes@cats.ucsc.edu (Jim Haynes) writes:
>
>In article <1992Nov9.150713.4035@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
>>I don't ever remember Liszt having hands that big. Rachmaninov could...
>
>That's OK.  Hardly anybody living today remembers Liszt at all

Didna tell yea, I'm 143 tomorrow.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Tchaikovsky's Piano Concerto No. 1
Organization: Camosun College, Victoria B.C, Canada
Date: Thu, 12 Nov 1992 01:37:00 GMT

In article <14638.2b011384@ohstpy.mps.ohio-state.edu> egras@ohstpy.mps.ohio-state.edu writes:
>
>
>	While we're asking about best Tchaikovsky recordings, would anyone
>like to recommend a favorite recording of his Piano Concerto No. 1 in Bb minor?
>I recently bought the Arthur Rubinstein recording and am disappointed.  The 
>fact that it has the crackling of the LP transfered to CD sort of bothers me,
>but still this recording lacks the intensity that I desired.

Martha Argerich and Kiril Kondrashin live on Philips. One of the few
performances I can bear to listen to, as I think this is a grossly
overrated piece.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: pugh@pico.math.ucla.edu (David Pugh)
Newsgroups: rec.music.classical
Subject: Re: It's in the wrists.
Date: 9 Nov 92 15:07:13 GMT
Organization: UCLA Mathematics Department

In article <101095@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
>
>     Well, I tried playing some Chopin when I realized that my hands
>were a bit small for some of the chords in his music!  I hate that!
>Anyways, I heard that Chopin had big hands, that Rachmaninoff had
>big hands, and that Liszt had real huge hands.
>     I believe someone told me that Liszt's could span 12 keys with
>his hand.  I can only span with great difficulty, 10. -with real
>great difficulty.  Actually, its practically only 9 keys. *sniff*
>

I don't ever remember Liszt having hands that big. Rachmaninov could
definitely span 12 keys. In fact with his left hand he could play the
chord CGCEG which is a span of a 12th not to mention the fact that the
span between the 4th and 5th fingers is a fifth !!

>     Anyways, is there any great piano composer/virtuoso who had
>hands the size of mine or smaller?  (I'm looking for insipiration! :)
>

I know Vladimir Aschenazy can only stretch an octave. Hasn't stopped him
playing Rach, Prokofiev, Tschaikovsky all with large crunchy chords. Some
of these chords with a 10th or larger he has to spread (very, very quickly).
Actually it makes a louder sound that way.
>
>Well, hopefully this isn't a dumb question, if it is, sorry I posted it.
>

I think it's rather interesting being a pianist myself!

>                             -G. Degamo,
>                              spacefox@acs.bu.edu

David
From: rlk@underprize.think.com (Robert Krawitz)
Newsgroups: rec.music.classical
Subject: Re: Best recording of "1812 Overture"?
Date: 8 Nov 92 11:30:24
Organization: Thinking Machines Corporation, Cambridge Mass., USA
	<1992Nov6.192644.20899@spang.Camosun.BC.CA>
	<1992Nov7.050543.2067@noose.ecn.purdue.edu>
NNTP-Posting-Host: underprize.think.com
In-reply-to: lungtt@gus26.ecn.purdue.edu's message of Sat, 7 Nov 1992 05:05:43 GMT

In article <1992Nov7.050543.2067@noose.ecn.purdue.edu> lungtt@gus26.ecn.purdue.edu (Terence T. Lung) writes:

   best recording?  I'll put my bet on that Telarc recording.

Ugh.  Very artificial sounding recording (I haven't heard the whole
thing, but I have a sampler with a clip from it).  The cannons are very
obvious overdubs, so closely miked that they practically sound like
rifle shots, and the performance is rather blah (again, just from a clip
of it).

   Was it the Cleveland Orchestra?

Nope.  Kunzel/Cincinnati Pops.
--
ames >>>>>>>>>  |	Robert Krawitz <rlk@think.com>	245 First St.
bloom-beacon >  |think!rlk				Cambridge, MA  02142
harvard >>>>>>  .	Thinking Machines Corp.		(617)234-2116

Member of the League for Programming Freedom -- write lpf@uunet.uu.net
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.music.classical
Subject: Re: Best recording of "1812 Overture"?
Date: 10 Nov 92 03:58:50 GMT
Article-I.D.: news.1992Nov10.035850.7891
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University

In article <1992Nov9.174505.15138@city.cs> lionel@cs.city.ac.uk (Lionel Tun) writes:
>
>Yes, the Telarc is _the_ definative recording of the 1812:
>Cincinatti Symphony, Erich Kunzel. Also has the Capriccio
>Italien and the Cossack Dance from Mazeppa. The latter is
>quite a little gem if you have not come across it before.

Everyone repeat after me:

||: THE TELARC RECORDING OF THE 1812 IS NOT GOOD :||

Now that we've gotten that out of the way, let me tell you why.

Musically, it is simply blah.  There are many fine recordings of the piece,
several of which have already been mentioned, so I won't bother repeating
them.

From an engineering standpoint, the thing itself just doesn't sound good,
and the stupid overdubbed canons sound cheesy and are recorded in awful
balance.  The disc is a favorite of "Circuit City" style stereo salesmen.
They use it to show how deep the bass on the Cerwin-Vega speakers are.

Telarc makes many, many fine recordings, most of them made through a stunning
array of Schoeps microphones and their fine, custom-built Neotek board.
However, even the best equipment can sound awful if misused, as it was in
the case of this recording.  STAY AWAY.


--
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: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Brahms
Organization: University of Delaware
Date: Fri, 13 Nov 1992 14:28:07 GMT

I talked about my "Brahms problem," in reply to which

In article <1992Nov12.221729.811@osf.org> 
coren@speed.osf.org (Robert Coren) writes:

>Which makes your mailing address rather surprising. Did someone else
>name your machine? :-)

Yep.  Four of our university machines are named brahms, ravel, chopin,
and bach.  I had nothing to do with it, honest!  (If I had, they'd
probably have been mahler, mozart, wagner, and britten.  :-)  )

Jon Alan Conrad
From: spahr@hpwala.wal.hp.com (Lani Spahr)
Date: Fri, 13 Nov 1992 14:05:24 GMT
Subject: Re: Berlioz
Organization: Hewlett-Packard Company
Newsgroups: rec.music.classical

In article <1992Nov10.180339.7222@telesciences.com>, dstrait@telesciences.com (Darin Strait) writes:
|> Can someone recommend a CD pressing of Berlioz's Symphonie Phantastique (sp?)
|> that I can find in the local Tower Records?
|> 
|> I am a novice at classical music, and would have grabbed the Telarc disc
|> with the Baltimore (?) Philharmonic, but I am unfamiliar with their reputation.
|> 


I have 4 recordings of the Symphonie Fantastique (Davis/London Sym, Solti/Chicago, Goossens/London Sym, & Munch/Boston Sym) and the one I *always*
get out when I *really* want to hear this piece is MUNCH/BOSTON.  IMHO, for
Berlioz you can't beat Munch and Boston.  There is always a fire and 
virtuosity in his Berlioz that I find lacking in other versions I've heard (maybe it's his 'French' fire) and I've heard more than the 4 I have at home.
This *really* comes out in his recordings of Belioz overtures.  Get *that* if
you want to hear some REALLY good Berlioz. But be aware that you're dealing with
late 50's, early 60's stereo sound, which isn't all that bad, but if you want
state-of-the-art sound, look elsewhere.  But then again, Munch is the cheapest
one available.  You can probably pick it up for < $7.  I can't vouch for the
Baltimore "Symphony" recording, interpretively speaking, but they are a fine orchestra, and I'm sure Telarc's sound is of the highest quality.

Good luck,

Lani Spahr
spahr@hpand5.and.hp.com
Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: Favorite Ring recordings
Organization: Indiana University
Date: Tue, 10 Nov 1992 15:19:42 GMT

In article <BxHx17.E6E@sci.kun.nl> gerritse@sci.kun.nl (Bart Gerritse) writes:

>though, his favourite is Krauss (mono, on Rodolphe) and second is
>Furtwa"ngler (Scala, bad mono, on Fonit Cetra (?)).
>


	
Incidentally, the La Scala recording by Furtwaengler
is available on a label called "Virtuoso" now, as a
boxed set and seperately. It is fairly easily
available I think, at least at the larger classical
music stores. Here in town the 4-disc ones are all
available on this label for around $20, and the
Rheingold for $13. The earlier releases were much more
expensive, at full price I believe.

I have several different versions of the
Ring operas, and while not all versions are even
through the whole cycle, some recordings are, of
course, more so than others. The Solti recording is
still mostly unsurpassable if you include performance,
principal singers and the sound with somewhat equal
weight. I feel the Furtwaengler/La Scala recording has
a somewhat more narrative "feel", and the sound,
though bad, isn't completely unacceptable. I am also 
curious but not surprised by the fact that the sound
is not uniform. In the discs I have, Das Rheingold
and Goetterdammerung have pretty much the same sound,
but Die Walkure is much better! Anyhow if one is going
to invest in just one cycle maybe the Solti Ring is
still the best bet of all?

Let me also plug one of my other favourite recordings
here. The 1957 Bayreuth cycle conducted by
Knappertbusch, on Laudis. I like Knappertbusch,
always, some may differ. But on this you find Hotter
in better voice than in his later recordings,
Windgassen seems to be in better form too. And then
you find the great Astrid Varnay in her prime. The
sound, though it says stereo on the cover, is good
mono, much better than the Furtwaengler one. 

The Krauss recording is available on double-length
CDs, and the whole cycle then fits on 7(9?)discs. But
it is sooo cumbersome to play them you may as well buy
them separately on Laudis.

Happy listening.


					Sami Mitra


Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: My Dessert Island List
Organization: University of Western Ontario
Date: Sat, 14 Nov 1992 02:10:49 GMT

1) Gaspard de la Nuit (Ravel)
2) Gurrelieder (Schoenberg)
3) St. Matthew Passion (Bach)
4) Brahms Clarinet Quintet (gotta agree with past lister!)
5) Prelude a l'apres-midi d'un faune (Debussy)
6) Rite of Spring (Stravinsky)
7) O quam tu pulchra (Schutz)
8) Funf Satze fur Streichquartette (Webern)
9) Wozzeck (Berg)
10) Lamento della Ninfa (Monteverdi)

This list could go on for an awfully long time--what about Haydn op.33? 
Josquin Missa Pange Lingua? Faure melodies (esp. Claire de lune), Trois 
poemes de Stefan Mallarme (Ravel). . .I'll have to do volume 2.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: chiu@gpb-mac.sps.mot.com (Norman Chiu)
Subject: Best recording of "1812 Overture"?
Followup-To: rec.music.classical
Organization: Motorola Inc.
Date: Thu, 5 Nov 1992 16:14:50 GMT

Hi Everyone:
    I am looking for the best CD (in terms of recording and performance)
of the "1812 Overture" by Tchaikovsky.  Can anyone recommend one?

Please post any info in this group.  Thanks.

   /|   /  chiu@gpb-mac.sps.mot.com  | Norman Chiu - Motorola Inc.
  / |  / ___________________________ | "We never gonna survive
 /  | / /  / /__/  /\/\   /_\   /| / |  unless we get a little
/   |/ /__/ /   \ /    \ /   \ / |/  |  crazy"       - Seal
From: edente@pearl.tufts.edu
Newsgroups: rec.music.classical
Subject: Chopin Ballades
Date: 13 Nov 92 16:19:43 GMT
Organization: Tufts University - Medford, MA


In my humble, perhaps clouded, undoubtedly stubborn, but deeply-felt
opinion, there is one recorded musical performance that towers above
all others - of any music, anytime, anywhere - that I have ever heard.
That performance is Michelangeli's recording of Chopin's G minor Ballade
on DG.  All of life and of death is contained in that piece, and 
Michelangeli unleashes it all.  This is such a powerful, moving, poetic,
rapturous performance that I can listen to it only once every few months.
I guess I'm getting carried away, but this is a magnificent performance.
Coupled with this piece are poetic, masterful performances of the Prelude
in C sharp minor op. 45, mazurkas, and the Scherzo op. 31.
Michelangeli hasn't recorded any of the other Ballades, but the Ashkenazy
set is quite good, as is an out of print set on DG by Vasary (esp. the 
4th Ballade.)  Ax's performances I haven't heard, but they've had good
reviews.  Rubenstein? Not sure.s
Newsgroups: rec.music.classical
From: rodean@fc.hp.com (Bruce Rodean)
Subject: Re: HAYDN
Date: Thu, 12 Nov 1992 17:05:50 GMT
Organization: Hewlett-Packard Co., Fort Collins, CO
X-Newsreader: TIN [version 1.1.8 PL6]

Gordon Watson (gordon@dcs.exeter.ac.uk) wrote:
> >>>>> On 11 Nov 92 02:14:04 GMT, alan@highlite.uucp (Alan McConnell) said:
> 
> Alan> Get yourself a recording of the early symphony subtitled "Evening". 
> Alan> And play the minuet.  And listen to the string bass, quite alone,
> Alan> lumber up the scale, awkwardly, yet comically, yet heavenly.
> 
> Can anyone convert the "Evening" subtitle to a symphony number?

I think this is Symphony No 8, part of the set of symphonies 6-8 which
are also known as "Morning", "Noon" (I think) and "Evening".  I have the
recording done by Pinnock and the English Concert which is very nice.  I
had my choice of this one or the Goodman/Hanover Band on Hyperion when a
store in town was liquidating stock, and I went with the Pinnock based
upon reviews.

--
Bruce Rodean                          Hewlett-Packard Company
rodean@fc.hp.com

Newsgroups: rec.music.classical
From: jon@playfair.Stanford.EDU (Jon Buckheit)
Subject: Re: Recomendations on Rachmaninoff's 2nd Concerto for Piano (Cm)?
Organization: Stanford University
Date: Thu, 12 Nov 92 18:52:23 GMT

Followup-To: 
From: jon@playfair.Stanford.EDU (Jon Buckheit)
Organization: Stanford University
Subject: Re: Recomendations on Rachmaninoff's 2nd Concerto for Piano (Cm)?
Keywords: rachmaninoff, concerto, piano

In article <1992Nov12.034351.14665@reed.edu>, rseymour@reed.edu (Robert Seymour) writes:
|> 
|> 	What are particularly good recordings of Rachmaninoff's Second Concerto  
|> for Piano in C minor? I'd like one with both good sound quality, and a notable  
|> performance, but the performance is more important. DDD disks are also  
|> preferable. Also, any recomendations on Rachmaninoff's Rhapsody on a Theme of  
|> Paginini? Last, what other pieces, recordings do you consider amoung  
|> Rachmaninoff's best (either before or after his counseling).
|> 
|> --
|> Robert Seymour				rseymour@reed.edu
|> Departments of Physics and Philosophy
|> Artificial Life Project			Reed College
|> Reed Solar Energy Project (SolTrain)	Portland, OR

I recommend the recordings by Rubinstein, and think you can get both the
Concerto and Rhapsody on the same CD.  

Incidentally, someone once told me that Horowitz had a recording of the
*second* concerto back in the 50's or so.  Does anyone know of this recording?
I have never seen it listed in discographies.

-- 
Jonathan Buckheit		jon@playfair.stanford.edu
Stanford University
Escondido Village #13D		Home: (415) 497-7634
Stanford, CA  94305
From: Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.)
Newsgroups: rec.music.classical
Subject: Re: Help Required. Dodecacophony. ;-)
Date: 7 Nov 92 21:17:19 GMT
 <1992Nov3.043025.28103@credence.com> 
 <1992Nov5.121516.17136@husc3.harvard.edu>  
 <1992Nov5.225459.3425@nuscc.nus.sg>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

In article <1992Nov5.225459.3425@nuscc.nus.sg>
smoliar@argon.iss.nus.sg (stephen smoliar) writes:

> Their
> admirable predecessors found Beethoven hard to listen to, too, just as they
> found "too many notes" in Mozart.)

I believe Noam was referring to the Atonal style and not particualar
composers in that vein. Also while SOME may have found LATE Beethoven
hard to listen to NO-ONE rejected the style of composition.People
actually liked the Romantic period!! I can't remember reading one
instance when someone said that "My God!! Let's go back to Baroque."

 The "Too many notes" cliche made popular by the movie is becoming a
tiresome attack on the validity of Mozart. Believe it or not many
audiences DURING HIS TIME, actually liked his operas witness the
success of Zauberflote and Figaro (Figaro's success came also in other
productions around Europe). No one rejected the Classical style of
composition either. I defy you to find me another period in which the
STYLE of music has been under such constant and direct attack. 

The argument that people don't like it because they don't have a lot of
knowledge about the music is silly. Music is primarily an emotional
medium where the listener FEELS it's expressiveness. If atonal music
needs to be listened to with a manual to fully enjoy its work (and
sufficiently praise its creator) than it ceases to be an emotional
medium. (I don't understand Tristan or Otello at all but I'm still
raptured by them)     
 Never in History has the weight of enjoyment been placed so much on
the listener and the responsibility removed from the composer. If
knowledge continues to be a criterion then the only people who will
listen (or care to) will be other musicians and then this art will be
firmly out of the realm of the average audience. btw if you look at
music from broadway to R&B to Pop to heavy metal to Christian rock to
Country etc,etc you'll see that they're ALL tonal music and the
audience (those blissfully ignorant babes in wonderland) continue to
find it interesting and exciting and keep coming back for more. 

P.S. I find it perfectly dreadful :-)

Hummmmmm,
JJM
From: David.Martland@brunel.ac.uk (David Martland)
Newsgroups: rec.music.classical
Subject: Re: Messeian recommendations?
Date: 9 Nov 92 15:14:36 GMT
Organization: Brunel University, Uxbridge, UK
X-Newsreader: TIN [version 1.1 PL6]

Paolo Leva writes in answer to Bob Martino:


    >Hi Rob,
    >
    >I suggest you to buy the Turangalila Symphonie recorded last year 
    >by CHUNG (I'm not sure about the spelling) on Deutsch Grammophone.
    >As an alternative you can try to find a recording of the same symphonie
    >by R. Chailly (Decca). I know he is a great interpreter of Messiaen but
    >I'm not sure whether he has already recorded that symphonie.
    >
    >If you are interested in Messiaen's music I can also suggest you to
    >listen to 'la transfiguration de notre signeur Jesus christus' (sorry
    >for all the spelling mistakes, french is definetely an unknown language
    >to me). It is a religious work quiet long (one and an half hour) but
    >extremely beautiful.
    >
    >Hi, Paolo.
    >

I don't know the Chung version of th Turangalila symphony, but would suggest that you
look around for the Previn version on EMI. Unfortunalely (as far as I know)  they haven't
seen fit to reisssue it on CD, so you'll need to look out for the LPs. It was for a very
long time the version to have, although for some inexplicable reason EMI decided to put
Simon Rattle's version (also good) onto CD in preference to Previn's.  If anyone wants
to hassle EMI in the hope of getting the Previn available again, they will have my support.

I just hope the grooves on my LP don't wear out!

Dave Martland, Dept C.S., Brunel University, UK
 
Newsgroups: rec.music.classical