HDTenEightyP/NetNews huggingface dataset:
From: kkothman@weber.ucsd.edu (Keith Kothman)
Newsgroups: rec.music.classical
Subject: Re: Do U.S. clarinet sections use identical instruments?
Date: 16 Dec 1992 20:57:32 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: weber.ucsd.edu

In article <3940063@hpcc01.corp.hp.com> zornow@hpcc01.corp.hp.com (Claudia Zornow) writes:
>Stephen Cranefield writes:
>
>>...  This reminded me of something I once read (possibly in
>> one of Jack Brymer's books) claiming that some wind bands and
>> orchestras in the U.S. try to achieve a uniformity of sound in their
>> clarinet sections by demanding that the players play on identical
>> instruments -- and possibly also similar mouthpiece and reed setups.
>> Is this really true?  
>
>In general, I don't know, and I'm curious to see the replies.  
>But I did read an article in "The Clarinet" magazine some time ago
>(I could go through my back issues if anyone's dying to find out 
>more) about the new Wurlitzer clarinets.  The author (of course 
>I can't remember who) claimed that they sound so different that 
>if one player in a symphony orchestra changes to Wurlitzers, the
>rest of the section should change as well.  
>

Wurlitzer clarinets aren't really new--just their use in 
the U.S.  They've been in use for quite a while in Germany
and other countries that follow in that tradition/influence
(Japan, for one).  

The most prominent recent switch to a Wurlitzer was by the
principal clarinettist with the L.A. Philharmonic.  The 
difference is not just in sound quality;  intonation differs
greatly from Boehm systems (Buffet, etc.).  Because of this
it can take a good clarinettist up to a year to make the switch,
since he/she must re-learn fingering patterns and intonation
control.

From other clarinettists that I have talked to, the Wurlitzer
provides a more uniform tone quality over the range of the 
instrument.  On the down side, due to bore size and less
keys some people think that it isn't as easy to play technical,
fluid passages.

Most U.S. clarinettists play Buffet clarinets, so it's almost
a de facto standard in orchestras.  There are notable exceptions:
Stanley Drucker for one play on a Leblanc (or did).  Whether
or not players use the same mouthpiece and reed setup depends
on how much importance a conductor places on tone matching/blending,
and how successful the players are at achieving such with their
personal setups.  It does seem that 2nd/3rd clarinettists must
agree to the wishes of the prinicipal clar. and conductor.

Keith
kkothman@ucsd.edu		Dept. of Music, UC San Diego

Newsgroups: rec.music.classical
From: kiisaka@csi.uottawa.ca (Ken Iisaka (the mad pianist))
Subject: Re: The BEST finale!
Organization: Dept. of Computer Science, University of Ottawa
Date: Fri, 18 Dec 92 06:00:15 GMT

Krenek Sonata No. 3
Prokofiev Piano Concerto No. 3
Ravel Piano Concerto in D
Schoenberg Op. 23, No. 5
Shostakovich Concerto for Piano, Trumpet and Strings
Shostakovich Cello Concerto No.2
Skryabin Piano Sonata No. 5

...
-- 
Ken Iisaka               \ NEXT RECITAL  |12:00 pm, Thursday, January 7th, 1993
kiisaka@csi.uottawa.ca     \ Produced by |National Gallery of Canada, Ottawa
AI Lab, University of Ottawa \ CBC Stereo|Berg        Sonata, b minor, op. 1
H: +1 613 237 6642 W: 564 8155 \ 103.3 FM|Mussorgsky  Pictures at an Exhibition
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: The worst (best) composer in a millenium
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Wed, 16 Dec 1992 12:43:10 GMT

In article <1992Dec15.194727.24320@itsmail1.hamilton.edu> Peter Dorman writes:
>Let me put in a good word for Messiaen's Catalogue d'Oiseaux.  This 
>is the best, as well as most rigorous, "green" music I have heard.  
>Unlike the new age stuff, Messiaen's environmental sounds (mostly 
>bird calls, of course) are highly specific and properly researched, 
>and above all not prettified.  Yet they are encased in a wonderful 
>impressionistic musical environmental.  The whole effect is 
>simultaneously bracing and engaging--like nature itself.  I am much 
>impressed with the recent set by Peter Hill on Unicorn; the pianism 
>alone should send people out after this stuff.

Yes.  This is my favorite Messiaen composition.  And as you say, Peter
Hill's playing on the three-CD set is terrific.

One of the more interesting things about this cycle is the way in which
the thematic material (bird calls, but note that these are notated in the
chromatic scale and hence redefined, particularly by enlarging intervals)
is developed within the context of Messiaen's environmental sounds (which
are totally his own).  The serial processes seems right at home here in
exploring these wonderful bird song themes -- impressionism and math
right in the same composition (Boulez uses the same combination, of course.)
In Peter Griffiths book, he states that Messiaen wanted to write another
Catalog of Birds cycle in the 80s, but had decided against it for fear
of dying in the middle.  Perhaps he changed his mind?

Also, I am not a big fan of the Turangalila -- it's a bit much for me.

T. M. McComb

Newsgroups: rec.music.classical
From: tait@cs.columbia.edu (Carl Tait)
Subject: Re: Pachelbel, Beethoven, and Mel Gibson
Organization: Columbia University Department of Computer Science
Date: Thu, 17 Dec 1992 09:16:48 GMT

In article <105123@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
>
>What's the best music to romance a woman at the piano?

Chopin, of course!  And I suspect this is true regardless of your
own gender or sexual orientation -- Chopin's appeal is immediate
to practically everyone.

You need at least one romantic and one bombastic piece.  I like
the Nocturne Op. 27/2 (a much better work than the hackneyed Op. 9/2)
and either the Revolutionary Etude or the Winter Wind Etude.  At a lower
level of technical difficulty, the vigorous Military Polonaise (Op. 40/1)
can also be a hit.  The G minor Prelude is also flashy and not too hard.

Longer works that combine bravura and tenderness in satisfying proportions
are the G minor and F minor Ballades, though these are awfully hard --
and difficult to rip through when you find yourself in front of a
piano with no advance warning, and the object of your desire asks
excitedly, "Oh, you play the piano?"

Gary Graffman has written that he liked to use the Rachmaninoff Elegie
(Op. 3/1) and Liszt's "La campanella" as his musical pheromones.
One bittersweet, one dazzling; how could he go wrong?

The Pachelbel Canon is familiar, easily grasped, and pleasant on the ear
(until you've heard it 10e97 times), so I'm not surprised it has worked
well for you.  The average person thinks the first movement of Beethoven's
Op. 27/2 is the *entire* "Moonlight Sonata," and this three-page Adagio
is technically simple.  If you've been deluged with requests for it, you
should be able to learn it with no trouble.

Among easily accessible 20th-century works, the Khachaturian Toccata
gives you a lot of bang for your buck.  (Perhaps that was not the best
choice of words.)  It's not very hard, but sounds damn near impossible.
Lots of noise, easy repeated notes for alternating hands, and a brief
romantic middle section.  A potentially awe-inspiring piece.

Carl Tait

Newsgroups: rec.music.classical
From: tony@cns.nyu.edu (Tony Movshon)
Subject: St. Matthew Passion
Reply-To: tony@cns.nyu.edu
Organization: New York University
Date: Wed, 16 Dec 1992 14:57:24 GMT

One of the most memorable musical experiences of my life was an Easter
performance of the Matthew Passion in Munich in 1973 under Karl Richter.
Last night I picked up the corresponding DGG/Archive CD set ($21 at the
Tower Annex in the Village, if you're interested), and I'm very taken
with it. But I'd be interested in others' views on this piece and this
performance, and on other recommendable issues.

And this might distract people from such burning issues as who is the
worst composer ever born in Bulgaria on a Tuesday.
------------------------------------------------------------------------
					Tony Movshon

Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
					Center for Neural Science
					New York University
Phone:	   (212) 998-7880		4 Washington Place, room 809
Fax:	   (212) 995-4183		New York, NY 10003
------------------------------------------------------------------------
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Virtuoso composers
Date: 18 Dec 92 00:26:27 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <BzDIv3.CG8@ptimtc.tadw.panasonic.com> dave@stl.panasonic.COM (Dave LaDelfa) writes:
>In article <F8BNVB1w164w@hub.parallan.com> Richard Walter writes:
>>As so virtuoso composers, I've heard it said that Vaugn Williams wrote
>>a concerto for every instrument in the orchestra (IMHO, his Tuba
>>concerto is a really great piece of music.) and that he could play the
>>solo part for all of them......
>>
>
>Perhaps you're confusing him with Paul Hindemith, who did indeed write
>a sonata for virtually every instrument in the orchestra, and 
>I have it on the authority of a professor of mine who knew Hindemith 
>when he taught at Yale that the man could play each and every one of the
>sonatas at a concert-quality level of proficiency. 

I can likewise vouch second-handedly for that, having known professors
who also studied at Yale with Hindemith.

>Hindemith was a professional violist but could also play all the brass 
>instruments, single- and double-reeds, piano, harp, and organ, and was
>apparently a pretty competent baritone. 

The part about being a competent baritone I'd not heard; do you mean
as an ensemble singer or as a soloist?  In other words, could he
competently sing a public solo recital, like Samuel Barber?

Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

=====


Newsgroups: rec.music.classical
From: rodean@fc.hp.com (Bruce Rodean)
Subject: Re: The BEST finale!
Date: Sun, 20 Dec 1992 04:13:21 GMT
Organization: Hewlett-Packard Co., Fort Collins, CO
X-Newsreader: TIN [version 1.1.8 PL6]

Kevin T Stiner (stinerkt@NeXTwork.Rose-Hulman.Edu) wrote:
> What is YOUR favorite ending or finale to a classical piece?

I've a couple of things to consider:

1) Respighi - Pines of Rome - The finale starts off so dark and
foreboding, but builds to an incredibly uplifting climax.  Hmmm, sounds
like sex.  :-)

2) Beethoven - Symphony 5 - Sure this is a warhorse, but it gives me
goosebumps each time I hear it.

3) Rachmaninov - Piano Concerto 2 - This just stirs my soul.  I watched
to see if it got any mention during the recent piano concerto discussion
in this group, and was sorry to see it wasn't mentioned.

4) Mozart - Symphony 39 - An absolute delight--there's no other way to
describe my reaction to it.  The themes run through each instrument in
the orchestra.

5) Saint-Saens - Symphony 3 - This is where the organ comes in, and it
kicks butt big time.  It's a favorite of mine to crank up the volume
while listening to it.

I know the request was for one finale, but I just couldn't resist.

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

Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: The BEST finale!
Organization: University of Delaware
Date: Thu, 17 Dec 1992 16:48:26 GMT

For the best "big" ending to anything, I second the mention of the final
chorus of Schoenberg's GURRELIEDER.  Now *that's* a sunrise!

There are also a couple of "thrown-away" deliberately anticlimactic
endings that I find immensely satisfying in their offhandedness.

One is the very last moments of Rachmaninov's RHAPSODY ON A THEME BY
PAGANINI.

The other is the end of Britten's SPRING SYMPHONY.  After an hour of
poetry sung in various combinations, and a final movement building up
huge momentum, the tenor finishes his poem with the words "...And so, my
friends, I cease."  The orchestra does one quick C major BANG!! and it's
over.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: Glass in Perfume Add
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Fri, 11 Dec 1992 23:15:53 GMT


In article <Bz408u.17I@news.cso.uiuc.edu>, erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:
|> 
|> Recently someone asked about the music in a perfume add.  They suspected it  
|> might be by Philip Glass.  I assumed at the time that it was just another  
|> imatation of Glass, as in several other commercials including one for a pain  
|> reliever.  Well, I heard the perfume commercial Thursday night (during the  
|> Simpsons) and it was in fact Glass.  Specifically "A Gentleman's Honor", from  
|> _The Photographer_.   (Can't remember the name of the perfume.)
|> 
I just saw that commercial last night, and I knew right away it was Glass.
I thought "how strange to use Philip Glass to back up a TV ad...". And,
I don't remember the name of the perfume either. Seems we have a commercial
that is effective in a way the producers did not intend.

- BK
Newsgroups: rec.music.classical
From: rwilmer@gateway (R. Wilmer)
Subject: Re: Valkyrie recordings
Organization: Mitre Corporation, McLean, VA
Date: Fri, 18 Dec 1992 16:16:19 GMT

In article <1992Dec17.161834.11532@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:


>I'd like to put Vickers' brain in Melchior's body,

Right.  Too much muscle definition detracts from the music.

> Leinsdorf's Sieglinde I thought was kind of low octane. 

Even the greatest experts in wig-making never made him
totally credible in the part.

Richard

Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: Re: Requia
Organization: HAC - Johns Hopkins University, Baltimore
Date: Mon, 14 Dec 1992 18:36:52 GMT

In article <1992Dec12.165349.18438@husc3.harvard.edu> elkies@germain.harvard.edu (Noam Elkies) writes:
>
>You want a peaceful requiem, how about the Faure?

I read somewhere that the Cathar saying "Death is the kiss of God" was
associated in some way with Faure's requiem (he knew the saying? was 
inspired by it?) In any case, it's a strange but beautiful thought.

-- 

	Francois Velde

Newsgroups: rec.music.classical
From: rws3n@astsun.astro.Virginia.EDU (Robert W. Spiker)
Subject: Re: When to Initiate a Standing OHHHH ...
Reply-To: rws3n@astsun.astro.Virginia.EDU (Robert W. Spiker)
Organization: Department of Astronomy, Univ. of Virginia
Date: Thu, 17 Dec 1992 20:35:51 GMT


tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker
Lab,54810,2720402) writes:
>
>You know it when it happens.  It's not a matter of "criteria", not a
>matter of deep thought.  You just do it when it seems right (and you'll know
>when it feels right.)
>
Corollary:  When you're unsure, don't do it.


Robert W. Spiker            rws3n@Virginia.EDU
Department of Astronomy     P.O. Box 3818, University Station
University of Virginia      Charlottesville VA 22903 USA
From: davidric@uxa.cso.uiuc.edu (david ricardo)
Newsgroups: rec.music.classical
Subject: Classical/Opera Laserdiscs?
Date: 14 Dec 92 19:59:26 GMT
Organization: University of Illinois at Urbana

I am about to purschase a laserdisc player partly for me and partly for my
father who enjoys operas and classical music very much. I am interested in
the amount and diversity of these laserdiscs. At the local mall, this area
of music not to mention laserdiscs is sorely neglected. 

So for you laserdisc fans I would be interested in some excellent laserdiscs
of operas that really show off the superiority of laserdisc video and sound.

Any comments or suggestions would be most helpful.


-- 

| Ricardo David              RacerX Engineering              |
| University of Illinois          ...keep them mowing        |
| davidric@uxa.cso.uiuc.edu                 blades sharp ... | 
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Lulu (new one)
Organization: MIND LINK! - British Columbia, Canada
Date: Sun, 13 Dec 1992 18:06:10 GMT

At my favorite CD shop the other day, I noticed there is a new version of
Lulu on EMI, presumably all 3 acts. Has anyone heard this yet? If so, please
post a review!

Also saw a multi-CD set on Wergo, priced quite cheaply compared to most Wergo
products. This was of 20th century piano music, but unfortunately seemed to
contain mostly excerpts of famous pieces like Vingt Regards, Bartok's Sonata
for 2 Pianos & Percussion, etc. Does anyone have a listing of what is in this
box?
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Re: Greatest living pianist (Was Re: Prokofiev, Scriabin, Piano works)
Date: 19 Dec 92 22:47:47 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]

Jon Buckheit (jon@playfair.Stanford.EDU) wrote:
: In article <6W9TBR07@cc.swarthmore.edu>, dgottli1@cc.swarthmore.edu (Daniel Gottlieb) writes:
: |> In article <1992Dec8.165143.2740@spang.Camosun.BC.CA>,
: |> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
: |> >> Let's start another totally meaningless thread, guaranteed to upset
: |> > some participant. If you want to argue about who the greatest living
: |> > pianist is, I'll nominate Sviatoslav Richter.
: |> > 
: |> Vladimir Ashkenazy, end of discussion.
:    
: Since Horowitz, Serkin, and Arrau have all died recently, this question isn't
: as hard as it once was.  I'd say it's without a doubt Alicia de Larrocha,

Are you kiddin'???

Crystian Zimerman

John

zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Newsgroups: rec.music.classical
From: jtbell@hubcap.clemson.edu (Jon Bell)
Subject: Re: The BEST finale!
Organization: Presbyterian College, Clinton SC
Date: Thu, 17 Dec 1992 17:55:07 GMT

In article <Dec16.202521.54518@yuma.ACNS.ColoState.EDU> hurben@lamar.ColoState.EDU (Mike Hurben) writes:

>The finale of Prokofiev's 5th Symphony is so wacky and unique, 

In the "wacky and unique" category, I nominate the final movement of Carl
Nielsen's Sixth Symphony:  a really strange (but fascinating) sequence of
variations, for various combinations of instruments, ending with a "Bronx 
cheer" from the bassoon.

Jon Bell / Dept. of Physics & C.S. / Presbyterian College / Clinton SC

Newsgroups: rec.music.classical
From: caf@omen.UUCP (Chuck Forsberg)
Subject: Re: Looking for Classical Wedding Music
Organization: Omen Technology INC, Portland Rain Forest
Date: Sun, 20 Dec 1992 06:38:49 GMT

Check out "Heroic Music for Organ and Brass" with E. Power Biggs.

My sister used music from Fiddler on the Roof in her wedding, but
be forewarned it made my mother cry.

For something off the beaten path, there's always Purcell's music
for the death of Queen Mary (you've heard it in Clockwork Orange) :-)
-- 
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
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: caruso and supervia - new
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 11 Dec 92 15:44:15 EST

EC>>RT>Nimbus' "Digital Ambisonic Recordings" are the same as they've always
  >>  >been - I find them exciting and not too noisy, but some listeners prefer
  >>  >the more manicured sound of Angel's transfers.  All Nimbus Prima Voce
  >>  >booklets contain biographical information, nice vintage photographs and
  >>  >synopses of the arias and songs (but no texts).
  >>
  >>Thanks for posting the info re: some recent Nimbus Prima Voce
  >>recordings. Gramophone reviewers have had some problem with the
  >>technology Nimbus uses in this series (they play the 78s in a small
  >>concert hall and rerecord the result from the audience); I find them
  >>among the most listenable -- especially the pre-electricals. I wish
  >>there were texts because a lot of the material is pretty obscure stuff
  >>that was once fashionable but no longer. I have played excerpts from
  >>these disks to several people who say "I hate historic recordings" who
  >>have changed their tune. A great series, not to be missed!

EC>Barf!  I still think Stockham's restorations for RCA/BMG are the best!

EC>The Stockham process involves digitizing the old 78's and removing the
  >resonances of the mechanical horn  with a algorithm.

EC>Ed_who_owns_the_RCA/BMG_Complete_Caruso

Barf!?! Why don't you say what you REALLy mean <g>!

I have several LPs from the RCA Stockham series. They claimed to
computer-analyze the effects the shape of the recording horn made on
the recording process and to eliminate the resulting distortion. A cute
idea, in principle, and a sterling effort but ...

Do you know if the CDs are just a reissue of the LPs or did they go back
to square one and redigitize them using the immense knowledge that has
been gained since the originals were done? The LPs were digitized as
early as 1977 (perhaps earlier) with the final releases coming out in
about 1982. I found the sound muffled and closed in in some cases.

I'd be interested in a recommendation of a single disc if they have been
redone in light new technology. Suggestions?

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: torenvl@ecf.toronto.edu (TORENVLIET GERARD LAWRENS)
Subject: Re: Cecilia Bartoli
Organization: University of Toronto, Engineering Computing Facility
Date: Tue, 15 Dec 1992 23:02:28 GMT

In article <92350.163924HSMBB@CUNYVM.BITNET> Spencer Means <HSMBB@CUNYVM.BITNET> writes:
>>I too was impressed with the recordings but had second thoughts after hearing
>>her live.  It is a truly beautiful instrument, she can negoitiate rapid fire
>>coloratura incredibly, is a wonderful artist, ...but the voice barely carries
>>beyond the footlights.  She tends to push on anything above mezzo piano.
>
>Not at all my experience in two New York halls (Avery Fisher and Alice Tully).
>The voice is not large, but it projects well, and I never had a sense that it
>was forced or "pushed."  This is an exciting, intelligent, and very charming
>artist, recorded or live.

I would definitely agree with this consensus.  Cecilia Bartoli does have a   
beautiful voice.  Two years ago I had the pleasure of seeing her in Notre Dame
Cathedral in Montreal, and it was astounding...but quiet.

I expect part of the reason is that Notre Dame Cathedral does not have the best acoustics, especially when you are sitting in el cheapo student seats.  Still, Ihad to strain to hear her voice.

However, I don't think this is a real detriment.  Granted, she will not be able
to sing "heavy pieces" (i.e., Mahler's Songs of a Wayfarer) very well, but 
lighter pieces are done well by her.

Regards,
Gerard

_____________________________________________________________________
Gerard Torenvliet                 |
Engineering Computing Facility    |  "Le coeur a ses raisons dont
University of Toronto             |   le cerveau ne sait nul."
                                  |
torenvl@ecf.toronto.edu           |                  -Blaise Pascal
(416)221-5949                     |
---------------------------------------------------------------------

Newsgroups: rec.music.classical