HDTenEightyP/NetNews huggingface dataset:
From: fernande@cps.msu.edu (Jose Roberto Fernandez)
Newsgroups: rec.music.classical
Subject: Re: Public Service Announcement
Date: 21 Jan 93 15:59:34 GMT
Reply-To: fernande@cps.msu.edu (Jose Roberto Fernandez)
Organization: Dept. of Computer Science, Michigan State University
NNTP-Posting-Host: mango.cps.msu.edu
Originator: fernande@mango.cps.msu.edu

In article <9301202201.AA05786@software.pulse.com> lampson@software.pulse.com (Dave Lampson) writes:
>In a recent posting, Steve Apter (apter@fid.morgan.com) writes:
>>
>>Sony, and now DG, have taken to sealing the jewel-boxes of their
>>CDs with little silver tapes.
>
>Actually all the Polygram labels are going to this, as well as shrink
>wrapping the CDs within the longbox, as the next step to the elimination
>of the longbox altogether, so that when stores have jewel-box-only displays
>in the near future, they can remove the longbox and still have a sealed
>product.
>
>>While they peel off without difficulty,
>>they leave behind a sticky residue which simply CANNOT be removed
>>by fingernails alone.  
>
[stuff deleted]

An easy way to remove the residue is to use scotch tape.  Just tape it
over the residue, press hard, wait a few seconds, and peel the tape
slowly off.  Repeat if necessary, as they say.
-- 
Jose Roberto Fernandez
fernande@cps.msu.edu
Computer Science
Mich. St. Univ.
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Beethoven quartets
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Fri, 22 Jan 1993 03:47:01 GMT

In article <1993Jan21.230920.16124@sequent.com> danielh@sequent.com (Daniel Hobbs) writes:
>In article <1993Jan20.162825.13457@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:

>...stuff deleted...
>>Well, I'm not good at discography in general, but I'm convinced that 
>>Tokyo has recorded at least some of the Schubert quartets for BMG/RCA Red Seal.

>I have a recording by the Tokyo of Schubert's "Death and the Maiden" and
>"Quartetsatz" (or however the hell it's spelled).  I'm not at home, so I
>can't remember the label, but it's some ultra-budget label (Vox Unique or
>one of those...).

I checked Opus/Schwann.  Yes, there's that one; the G major, A minor, and two
early ones are out on RCA discs.  More to come -- I can promise!

Roger
>
From: jeq@i88.isc.com (Jonathan E. Quist)
Newsgroups: rec.music.classical
Subject: Re: Music killed by movies
Date: 26 Jan 93 16:26:25 GMT
Organization: Lachman Technology, Incorporated, Naperville, IL

In article <1993Jan23.214627.28304@netcom.com> eclipse@netcom.com (Brian McCullough) writes:
>Piece:  "Ride of the Valkyries"; Composer:  Richard Wagner
>Culprit:  Chuck Jones, Warner Bros. Pictures
>
>   I will NEVER be able to hear this again without thinking:
>   "Kill the Wabbit!  Kill the Wabbit!  Kill the Wabbit!!!!"

From "What's Opera, Doc?", one of the truly classic Looney Tunes.
Gave thousands of kids (and adults) their first introduction to
Wagner.  And many say, with a much improved libretto.

Add also culprit Carl Stalling, the musical director.  IMHO,
he did a fine job on this one (as with most of the others).

The short is out on video, but this is one that truly must be seen
and heard on the big screen.
-- 
Jonathan E. Quist                              Lachman Technology, Incorporated
jeq@i88.isc.com  '71 CL450-K4 "Gleep", DoD #094        Naperville, IL
 __       There's nothing quite like the pitter-patter of little feet,
 \/                   followed by the words "Daddy!  Yay!"
From: chorus@vntic.msk.su (AIST-network USER: ACADEMIC CHORUS conducted by SERGEY STROKIN)
Newsgroups: rec.music.classical
Subject: RE: "The double life of Veronica"
Date: Fri, 22 Jan 93 11:30:31 +0200
Distribution: world
Organization: AIST-VNTIC INFORMATION NETWORK. NODE-LOCK.
Reply-To: chorus@vntic.msk.su


>   ronenp@tiger4.technion.ac.il (Ronen Perets) writes:
>
>   >        Can anybody tell me whether the sound track of "The double life of
>   >Veronica" is original. If not on what is it based and who wrote it.
>
>   >        I have the disk and it mentions some composer (probably dutch) but
>   >I couldn't find this name in the Pingueen refference. In the movie
>   >as I recall this dutch composer is mentioned but nothing more.
>
>   >THANKS
>
>           Well, you're not the first one to make the mistake! The Dutch composer
>   mentioned in the movie never existed: I don't remember who was the one that
>   made the music, but the Dutch was a joke by Kieslowski. It's a pity, though:
>   the music was wonderful!
>           So it's not a wonder, you couldn't find the composer in Penguin
>   reference. If someone finds out, who really has made the music, please send thename to this group!
>
>                           Harri Kiisikinen
>
>           harkiisk@utu.fi
>
    Music for "The double life of Veronica" composed by ZBIGNIEW PREISNER.
The base for this music - concerto mi minore of Van Den Budenmayer (sbi 152,
vers: 1785 & 1802 & modern) and any moments of "CARMINA BURANA" (K. Orf).

                            Boris Tarakanov
                            chorus@vntic.msk.su



Newsgroups: rec.music.classical
From: jfl@panix.com (Jeff Lipton)
Subject: Messaien Organ Music - Recommendations Please
Organization: Panix Public Access Internet & Unix, NYC
Date: Sat, 23 Jan 1993 15:05:19 GMT


	I have just recently begun to enjoy some of Messaien's music -
his "Turangalila" symphony, for example, and would like to sample some
of his organ music. Can anyone recommend specific pieces and specific
recordings to start with? Thank You.
			Jeff Lipton

-- 
+----------------------------------------------------------------------------+
| Jeffrey F. Lipton, M.D. (jfl@panix.com) |   (212)-982-1219 (home)          |
| 353 E. 17th, #19-E  NY, NY 10003        | "Disobedience was Man's First    |
+------------------------------------------------ Virtue" (Oscar Wilde) -----+
From: wulfsohn@sdac.harvard.edu (Michael Wulfsohn)
Newsgroups: rec.music.classical
Subject: Re: Brahms Basher Repents
Date: 28 Jan 93 18:12:15 GMT
Organization: Harvard University, Statistical & Data Analysis Center

On the subject of Brahms - try the amazing definitive interpretations
of Katchen playing Brahms' piano music.  No-one else comes close,
except maybe Richter playing the 1st piano sonata.
From: kint@engr.washington.edu (Rick Kint)
Newsgroups: rec.music.classical
Subject: Re: Morales review
Date: 25 Jan 1993 18:50:56 GMT
Organization: University of Washington
Distribution: world
NNTP-Posting-Host: rio.engr.washington.edu

	Many thanks to Todd McComb for his review of the Morales recording
on Astree, a fine performance of fine music.  

	Morales wrote an incredible motet, "Emendemus in melius" (or something
close) which was in the HAM and/or Masterpieces of Music before 1750.  I found
a recording on LP a dozen years ago, by a collegiate group.  Does anyone know 
of a more recent recording?  It isn't in Schwann, but that doesn't mean
much, and I haven't seen one in my rummagings at Tower.

-- 
Rick Kint				UNIX Geek, College of Engineering
kint@engr.washington.edu		University of Washington, Seattle
From: talh@cauchy.eecs.umich.edu (Tal Herbsman)
Subject: Re: Mahler "Das lied von der Erde" questions
Organization: University of Michigan EECS Dept., Ann Arbor, MI
Date: Fri, 22 Jan 1993 19:08:27 GMT

> DLvdE in short? Horenstein 1972, recently reissued on Music and Arts.
> Also highly recommendable: Ferrier/Patzak/Walter (Decca) 1951, Walter
> recorded live in 1936 (Pearl) the first ever recording.
> Baker/King/Haitink on Phillips. The Ludwig/Klemperer has many
> enthusiasic reommendations too. Avoid the Jessye Norman/Colin Davis...

i have this theory about "das Lied" that the longer the better (especially
for #1 and 6, which to me ARE "das Lied"). so which of the recommended versions
clocks in at longest? 
 

tal.
From: zornow@hpcc01.corp.hp.com (Claudia Zornow)
Date: Mon, 25 Jan 1993 19:10:58 GMT
Subject: Re: P.D.Q. Bach (Was Re: Vocal contributions from the orchestra (Was Re: ..... Bolero))
Organization: HP SSD R & D
Newsgroups: rec.music.classical

My problem with Schickele's music (written as himself) is not
its quality but its price.  I bought his "Little Suite for
Winter" (a duet for clarinet and tuba) and found it pleasant
and engaging.  However, it cost $18.00, so I won't be buying
much more by him any time soon.  The publisher was Theodore
Presser; perhaps the problem lies there and not with Schickele
himself?

Claudia
From: kahn@troi.cc.rochester.edu (James Kahn)
Newsgroups: rec.music.classical
Subject: Re: Schubert String Quintet in C-major
Date: 28 Jan 93 18:45:57 GMT
Organization: University of Rochester (Rochester, NY)

In article <1993Jan28.164233.19717@bristol.ac.uk> plcdib@bristol.ac.uk (C D I Bertram) writes:
>I recently heard the Schubert string quintet in C major for 
>the first time. Up till now I thought I didn't like Schubert
>except for some of the lieder. I'd be very interested to hear
>recommendations from people since the Good CD Guide, the 
>Penguin Guide and Michael Tanner writing in Classic CD all
>disagree on this one. So please, help me (and others) choose. Which and why?

This may not help much, but no recent version that I've heard measures up
to a magnificent old recording on Westminster records by the Taneyev
quartet (plus a cellist, I forget who).  It's a rich, textured, 
highly charged performance, but probably only available in used
record stores.

JK
Newsgroups: rec.music.classical
From: caf@omen.UUCP (Chuck Forsberg WA7KGX)
Subject: Re: Boosey sues Disney
Organization: Omen Technology INC, Portland Rain Forest
Date: Sun, 24 Jan 1993 21:37:45 GMT

In article <1993Jan24.132846.15925@cronkite.ocis.temple.edu> christen@astro.ocis.temple.edu (Carl Christensen) writes:
>I didn't think you could sue (public domain material) but I hope they
>win millions.  Disney nowadays seems to have 100 lawyers and MBA's for
>every artist, so I wouldn't mind seeing them lose.
>
>So if an orchestra plays a public domain work, that orchestra owns
>that performance?  I'd like to know the laws about that.  Or were the
>arrangements of 'Fantasia' music not public domain.

As I understand it, Disney paid for the right to use The Rite of Spring
in the movie.  But now it is claimed that a separate payment must made to
use the music in any home video products.

VHS and Laser had not been invented when the deals were inked for Fantasia,
but there must have been a few movie collectors back then...

-- 
Chuck Forsberg WA7KGX          ...!tektronix!reed!omen!caf 
Author of YMODEM, ZMODEM, Professional-YAM, ZCOMM, and DSZ
  Omen Technology Inc    "The High Reliability Software"
17505-V NW Sauvie IS RD   Portland OR 97231   503-621-3406
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: P.D.Q. Bach
Date: 22 Jan 93 16:45:28 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <Jan.21.16.47.05.1993.21763@ruhets.rutgers.edu> bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
>dgold@basso.actrix.gen.nz (Dale Gold) writes:
>
>>Last time I talked to Schickele (about 15 years ago) that's exactly
>>what he wanted to do.  But I guess he's been typecast and nobody will ...
>
>A few years ago there was a weekend of (PDQ's) "works" at my alma mater
>(which is also Schickele's alma mater) billed as a "farewell" ... he was
>going to give it up for "straight" composing.  I think he has relapsed,
>probably because the PDQ stuff pays and composing doesn't.

I interviewed Schickele few years ago on the subject of humor in
music, and we got into what he perceives as his problem:
Once you do humor, people expect everything you do to be funny.
(I guess also that once a classical musician does cross-over pop,
that's 'expected' too and then pressured to continue by
management. :-( )  Schickele basically said that he literally has
to tell an audience, "This isn't funny music," when he has a
concert of his serious works.
  He IS getting commissions, though.  One recent piece, "Go for
Broke" (which happens to be a comedy, though not in the P.D. Q.
Bach sense), was commissioned by the Dale Warland Singers (and I
think in a consortium with Chanticleer and another chorus).
It is basically a modern "madrigal entertainment" like the
kind that was popular in Renaissance Italy, having a story
of sorts with a happy ending.
  I beleive it is published by Theodore Presser.

Cheers,


--Mark Gresham
dscatl!mgresham@gatech.edu
From: maverick@cork.CS.Berkeley.EDU (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: tonal value of chords and harmonic series [?]
Date: 28 Jan 1993 18:10:12 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: cork.cs.berkeley.edu

In article <1993Jan28.011138.11081@news.cs.brandeis.edu>, jacob@max.cc.brandeis.edu ( ) writes:
|> 
|> it's not true that the investigation has only one "acceptable" outcome.
|> there are two acceptable outcomes. outcome 1: "the harmonic series can
|> justify the use of the minor triad as a tonic chord", outcome 2: "the harmonic
|> series cannot justify the use of the minor triad as a tonic chord."

All right; given outcome 2, then we have two possible
consequences.  2a: the minor mode is a terrible mistake, and
we can't listen to Beethoven's 5th any more.  2b: everything
continues as before.  Now you know and I know that the real
consequence will be 2b; so what does this say about the
force of argument from the harmonic series, and the
relevance of your outcome 1?

	Vance
From: leblanc@knuth.mtsu.edu (Stuart LeBlanc)
Newsgroups: rec.music.classical
Subject: Re: Bach's Sonata & Partita Vln Solo: Recording recommendations
Date: 21 Jan 1993 02:37:46 -0600
Organization: Dept of Comp Science, Middle Tenn State Univ, Murfreesboro, TN
NNTP-Posting-Host: knuth.mtsu.edu

Allow me to strenuously recommend the late-eighties recording by Shlomo
Mintz.  It is absolutely beautiful, spacious, flawless playing, devoid
of the affectations (radical and seemingly irrational variations in tone,
incomprehensible tempi in slow movements, unwarranted emphasis on a
contrapuntal voice deemed "most important", etc.) found with
practitioners of nineteenth-century interpretive conventions.  The 1975
Milstein recording (he has recorded the cycle three times I believe) is
the most widely circulated, and thus the most probable to be
recommended, but it suffers from infidelity to what is now better
understood as the baroque style.

I haven't heard the Perlman recording yet (was looking at it last night
in fact), but in Perlman's golden hands nothing could be bad.  If you
are an original instruments aficionado then Sergiu Luca has a very
good, more intellectually engaging recording.  But definitely don't make
your decision until you've heard the Mintz...  listen to the C Major
Sonata; the fugue is one of the most glorious performances you'll ever
hear... the Chaccone will take your breath away...
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Boosey sues Disney
Date: 26 Jan 93 11:58:32 GMT
Organization: Oxford University VAX 6620

In article <1993Jan24.055856.4422@timessqr.gc.cuny.edu>, kos@cunyvms1.gc.cuny.edu (Bob Kosovsky) writes:
> In the New York Times of Friday, Jan. 22 (page. B3) was an article on
> how Boosey & Hawkes is suing Walt Disney Corp. for selling videocassettes
> of FANTASIA.  B & H claims that "Stravinsky never granted the right to
> use it [Rite of Spring] in any medium or by any other form of distribution."
> The article also mentions a pending lawsuit by the Philadelphia Orchestra
> also against Disney's selling of videocassettes of FANTASIA.
> 
They are apparently suing Disney for something like eight -times their annual
turnover, which would make them an extremely rich company, but would barely
dent Disney's profits.
-- 

Stephen Wilcox             |   For Sale: Posts in British Government. Suit
wilcox@vax.oxford.ac.uk    |   outgoing American. Highest bids accepted.
Newsgroups: rec.music.classical
From: jtbell@hubcap.clemson.edu (Jon Bell)
Subject: Re: Brahms Basher Repents
Organization: Presbyterian College, Clinton SC
Date: Sat, 23 Jan 1993 15:30:30 GMT

In article <Jan22.220810.51877@yuma.ACNS.ColoState.EDU> hurben@lamar.ColoState.EDU (Mike Hurben) writes:
>  Well, I was one of those people a month or two back who said some unkind
>things about Brahms' music.  And while I still don't consider his symphonies
>to be in the same class as Beethoven's or Mahler's, [...] 

Wait a while longer, then give 'em another chance.

When I started listening to classical music in high school, I didn't care for
the Brahms symphonies either, and so I pretty much ignored them all through
college.  When I started grad school at Michigan, one of the first concerts
I heard there featured Kurt Masur conducting the Leipzig Gewandhaus Orchestra,
and the second half of the program was the Brahms First.  I almost left at
intermission, but finally decided, "what the hell, I've paid for it already,
I might as well hear it."  Fifteen minutes later my mouth was hanging open
in astonishment... did Brahms really sound like _that_?  

The next day I dug out those Brahms recordings that had been gathering dust,
listened to them again, and they too sounded a lot better than I remembered.
Now he's one of my favorites.  So maybe Brahms is one of those composers that 
some people simply have to "grow up to" or something...

Jon Bell / Dept. of Physics & C.S. / Presbyterian College / Clinton SC, USA
From: wagner@kuhub.cc.ukans.edu
Newsgroups: rec.music.classical
Subject: I'll be in Chicago.
Date: 24 Jan 93 21:18:51 CST
Organization: University of Kansas Academic Computing Services


	I am going to be in Chicago on March 2 & 3. I am hoping to catch a CSO
concert while I am in town. If someone would please mail me what is (if it is)
going to be played on those dates. I am a brass player, so I am hoping for some
Mahler or Bruckner or Wagner. I can hope. Please let me know.

	Also I would like to get some idea of ticket availability and prices
for these dates if they are indeed playing. Any other tips for spots to visit
while there would be appreciated.

p.s. Anyone else auditioning for NRO? (Nat. Rep. Orch.)

wagner@kuhub.cc.ukans.edu
	or
cs532@freenet-in-a.cwru.edu
Newsgroups: rec.music.classical
From: vshen@cns.neusc.bcm.tmc.edu (N. Vivienne Shen)
Newsgroups: rec.music.classical
Subject: Re: Anyone heard of Gliere?
Date: 22 Jan 1993 21:51:29 GMT
Organization: Baylor College of Medicine, Houston, Tx
Distribution: world
Reply-To: vshen@cns.neusc.bcm.tmc.edu (N. Vivienne Shen)
NNTP-Posting-Host: cns.neusc.bcm.tmc.edu
Originator: vshen@cns.neusc.bcm.tmc.edu


|> Adam Ronthal (ronthal-adam@yale.edu) wrote: 
|> : All I know about Gliere is that he wrote a very cool concerto for Horn and
|> : Orchestra.  It's recently been re-released on Philips (It was out of print
|> : for a while) and it is definitely worth picking this up.
|> 
|> : Adam
 
Gliere also wrote a set of duets for two cellos. I don't know if there are any
recordings, but they are at least challenging and fun to play.

Vivienne
From: robertson@pasadena-dc.bofa.com
Newsgroups: rec.music.classical
Subject: Re: Mahler 7
Date: 26 Jan 93 17:24:44 PDT
Organization: Bank America Systems Engineering, Pasadena, CA

In article <1993Jan25.002007.6032@Princeton.EDU>, langs@puhep1.princeton.edu (David Langs) writes:
> In article <RM0WB3L5@cc.swarthmore.edu> rbrooks1@cc.swarthmore.edu (Robert Brooks) writes:
>>Picked up the DG Bernstein Mahler 7 yesterday from Philly Tower Records and
>>   .
>>   .
>>   .
>>point.  Anyone else want to comment on their favorite 7? 
>>-- 
> I must say, the recording that has become my favorite surprised me.  I
> bought the Solti/Chicago boxed set of the nine Symphonies last summer,

I'll have to check these out, especially now that the Solti is (said to be)
available singly.

The seventh has always been problematic for Mahler fans, especially the finale.
It seems to be aiming for the same kind of life-affirming celebratory mood that
we find in the finale of the fifth, but so few performances communicate this
that one can't be blamed for wondering if Gustav hadn't maybe miscalculated a
bit on this one.

I haven't heard either of the recordings mentioned above, but the one recording
that seems to do best for me is the Abbado performance on DG.  This was 
(relatively) controversial when it appeared for the tempo liberties that 
Abbado took, but the results and the overall impression are what counts.

(BTW, another underappreciated performance is the Karajan Mahler 6th, IMHO.  
Coupled w/ Songs of a Wayfarer, I think.)
From: rlk@underprize.think.com (Robert Krawitz)
Newsgroups: rec.music.classical
Subject: Re: Two questions about violin......
Followup-To: rec.music.classical
Date: 28 Jan 93 16:07:12
Organization: Thinking Machines Corporation, Cambridge Mass., USA
NNTP-Posting-Host: underprize.think.com
In-reply-to: wing@dcs.warwick.ac.uk's message of Thu, 28 Jan 1993 11:26:15 GMT

In article <1993Jan28.112615.21854@dcs.warwick.ac.uk> wing@dcs.warwick.ac.uk (**Raymond Chan**) writes:

	   What is the use of the piece of metal which players sometimes put in
   near the 'arc' of the violin? Is there any specical name for this and what
   is the notation in the score?

It's a mute.  Sometimes it's made of metal, sometimes rubber (I use a
rubber one on my viola).  The indication in the score is "con sordino"
at the beginning of the passage in which it's used and "senza sordino"
when the mute is removed.

	   Secondly, what is the name of method of playing violin using your
   finger instead of the bow? Why does composer use this and when did it start?
   How is the notation of this method denotes in the score?

Pizzicato (plucking).  It's marked "pizz." where it starts and "arco"
where it ends (where the notes are bowed again).  It's not a new
technique, although I haven't seen it used much by, say, Bach.
--
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: jhahn@gibbs.oit.unc.edu (Jim Hahn)
Newsgroups: rec.music.classical
Subject: Re: Bach's Sonata & Partita Vln Solo: Recording recommendations
Date: 25 Jan 93 16:07:40 GMT
Organization: Health Policy & Admin, UNC-Chapel Hill
X-Xxmessage-Id: <A7897B9B34016E22@thebit.sph.unc.edu>
X-Xxdate: Mon, 25 Jan 93 11:12:27 GMT
X-Useragent: Nuntius v1.1.1d17

In article <42896@unix.SRI.COM> Ray Perrault, perrault@AI.SRI.COM writes:
>I still treasure my old Odyssey set by Szeryng.  

As do I. When I studied the sonatas and partitas, I spent literally
hundreds of hours listening to various artists and without a doubt,
Szerying is unsurpassed in his interpretation. I still get chills
whenever I hear him play the the fugues - the chaconne is a spiritual
experience.

Several people have recommended the Milstein recordings. While I agree
they are good, I find them to be rather stilted and some of his
interpretation leaves me bewildered. With Szeryng, there is no question
I'm hearing Bach (in the hands of a genius). With Milstein, I hear too
much Milstein and not enough Bach (although this is not as bad as the
Heifetz recordings).

>I remember going to
>hear him two evenings in a row doing the complete sonatas and partitas
>in 1967 when I was young and impressionable (younger and more
>impressionable?).  But I suspect that this is music so powerful that
>it almost doesn't matter who you hear doing it first -- it just marks
>you for life.  
>
>--Ray Perrault

Agreed. These pieces rank at the top of my list in the violin repertoire.
--
     Jim Hahn
     jhahn@gibbs.oit.unc.edu
Newsgroups: rec.music.classical