HDTenEightyP/NetNews huggingface dataset:
From: danielh@sequent.com (Daniel Hobbs)
Subject:  Re: Help, which instrument?
Organization: Sequent Computer Systems Inc.
Distribution: usa
Date: Wed, 15 Apr 92 19:08:11 GMT

In article <1992Apr15.152108.6448@unx.sas.com>,
sasghm@theseus.unx.sas.com (Gary H. Merrill) writes:

>Saxophones suck (I know. I played the beasts for over 15 years until
>it finally dawned on me that it was a terrible instrument.)

The saxophone is difficult to play well over its entire range because
of the shape:  for the high notes, the air column is (relatively)
narrow, while for the lower notes, the air column is (relatively)
wide.  The result is that the "robustness" of the tone varies a
lot from high to low.  High notes take a lot of work to avoid sounding
thin, while low notes take a lot of work to keep from booming.
When played well, I find the saxophone a beautiful instrument, and
there is a body of work, both original and transcribed, for sax
quartet that sounds very nice to me.  Since the saxophone was not
invented until the 1850's (by Adolphe Sax), a lot of the original
"serious" or "academic" music for the saxophone is 20th century.

Dan Hobbs
danielh@sequent.com
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Theme in Handel and Mozart
Organization: Open Software Foundation
Date: Fri, 17 Apr 1992 13:09:06 GMT

wilcox@vax.oxford.ac.uk writes:
|> out. But more importantly, and less avoidably, Handel was an appallingly
|> unimaginative orchestrator.

Elgar, by many people's ranking a non-appalling orchestrator, was asked
where he learned to write so wonderfully for strings.  "Study Handel", he
said, "it's all in there."
-- 
400 72 translate/L{lineto}def/C{curveto}def 0 0 moveto 0 24 L 9 24 10 0 5 0 C
18 14 L 21 -6 23 0 27 16 C 32 0 L 37 0 45 12 45 24 C 45 0 L 45 24 L 54 22 50 20
46 10 C 59 9 51 6 49 0 C 58 10 66 -4 78 4 C 87 20 L 93 0 99 3 104 6 C 108 0 L
2 setlinejoin stroke showpage (David Brooks, Open Software Foundation) pop
From: 352gmillerm@vms.csd.mu.edu (Markus)
Newsgroups: rec.music.classical
Subject: Music in Silence of the Lambs
Date: 13 Apr 92 16:10:17 GMT
Article-I.D.: vms.00959092.71C5C860
Reply-To: 352gmillerm@vms.csd.mu.edu
Organization: Marquette University - Computer Services

Could someone please tell me what is the title and composer of the piano 
music played in the Silence of the Lambs in the scene in which Dr. Lecter
kills the guard?  I have been told that it is by Scarlatti, but does anyone
know for sure?  I would really appreciate an answer.  Thanks.
#-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=#
#   Mark J Miller      #   "Backoff man, I'm a Scientist!"                   #
#                      #                        - Dr. Vinkman                #
#-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=#
Xref: sparky rec.music.classical:5615 sci.lang:3753
From: grossi@capsogeti.fr (Thomas Grossi)
Newsgroups: rec.music.classical,sci.lang
Subject: Re: Cor ANGLIAS or ANGL'E
Date: 7 Apr 92 08:16:23 GMT
Reply-To: grossi@capsogeti.fr (Thomas Grossi)
Organization: Cap Gemini Innovation, Grenoble, France

In article <SMAILL.92Apr4024354@lomond.aisb.ed.ac.uk>, smaill@aisb.ed.ac.uk (Alan Smaill) writes:
|> Well, it's a different  question, but I believe that ( and this is my
|> favourite etymology (assuming it's true)) the Basset Horn is named after
|> (pour les amerloques ca se dit "for") a German instrument maker called
|> Horn.

Well, I wouldn't dare speak for *all* Americans, but *this* "amerloque" would
indeed have said "named after..."  But surely you mean "a German instrument 
maker named Basset" and not "Horn"!
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: government and the arts
Organization: Camosun College
Distribution: na
Date: Thu, 16 Apr 1992 23:22:41 GMT

A number of people here have suggested that government sponsorship for
the arts is wrong whereas private (corporate) sponsorship is OK. May I ask
these people where they think the companies get the money from? Doubtless
this sponsorship is tax-deductible, which means the government is paying part
of it anyway; secondly the rest of the money comes from their revenue, which
means from their customers, i.e. the public. To suggest otherwise is like
suggesting that commercial TV is "free" because it's paid for by adverts
and not by the government or public, as if the public didn't pay the
companies the money they use for advertising.

Cheers,
 deryk.
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: Memorable (?) cover art.
Date: 16 Apr 92 03:28:28 GMT
Distribution: world
Organization: MIND LINK! - British Columbia, Canada

Weren't there some albums by Ivan Moravec released on Conoisseur Society about
20 years ago of him playing stuff by Chopin which featured nude women on their
covers?

The Westminster Gold cover of Berlioz' Romeo & Juliet had a naked couple
featured ... the photography was VERY soft-focus, and the guy was wearing a
pair of socks!
--
-----------------------------------------------------------------------------
If you're going to reply in E-mail, please don't quote my whole message back to me -- it costs me money!!! (so does this extra line)
Mike Quigley, Vancouver, B.C., Canada             Mike_Quigley@mindlink.bc.ca
Newsgroups: rec.music.classical
From: mccombt@cs.rpi.edu (Todd McComb)
Subject: Re: Burgmuller, John Ogdon & Daniel Adni query
Organization: Rensselaer Mathematics Dept., Troy NY
Date: Fri, 10 Apr 1992 12:19:48 GMT

In article <1992Apr10.122959.1@wombat.newcastle.edu.au> P. Longworth writes:
>Also could someone please give me the full list of available John Ogdon
>compact discs:

I don't know about the full list, but Ogdon's recording of Sorabji's
Opus Clavicembalisticum on Altarus 9075 is surely one of greatest
productions of the modern recording era.

-- 
Todd McComb                             mccombt@turing.cs.rpi.edu [128.213.1.1]
Newsgroups: rec.music.classical
From: william sadler <wsadler@copper.ucs.indiana.edu>
Subject: Re: Good Perf Major Schools?????
Organization: Indiana University
Date: Tue, 14 Apr 1992 10:55:48 -0500

In <CB.92Apr13124041@tamarack12.timbuk> cb@tamarack12.timbuk (Chris Brewster) writes:

>Jennifer Barron wrote:

>   ... I wondered what some good, challenging, perf. major degree programs 
>   there are at some of the schools in the US... 

>I wrote:
>  
>   The choice is obvious: Indiana.
>   
>Peter Hoogenboom writes:

>   While Indiana is certainly an excellent school, I would have to say that 
>   it is not without its limitations.  Anyone has to weigh the limitations 
>   and strengths of the various programs ...

>I'm sure not everyone finds happiness there, but, as far as I know, it's
>the only school at that level of quality that has anything like IU's sheer
>SIZE

And that is the crux of the problem.  As a current enrollee in these
hallowed factory halls I have to say that I have seen many people come
through here and leave, let's say, different.  If you said, "Needing
psychological care" you wouldn't be wrong.

But it is the BIGGEST school of music if not the best.  

As a graduate school it is probably OK if you are looking for a specific
teacher to study with.  But, you have to be prepared to compete with all
of the other people wanting to study with that teacher.  The vocal
department is the worst example.

There is also the continuing problem of keeping all of those ensembles
going night & day.  You have to be ready to wade through more paper-work
than ever imagined possible with all sorts of nifty out of date exams
that are supposed to test your skill since the courses you take do not
cover the materials on the exams.

in short, the SOM likes to maintain its superficial appearance by
funding the opera and having thousands of recitals and concerts a year,
but the overturn in the student population is incredibly high.
Those stupid enough not to leave spend years trying to get a 1 or 2 year
degree while others give up adn go into computers.

I haven't given up yet, though I have gone into computers!

Will 
-- 
**********************************************************************
*Will Sadler		Indiana University Law School-Bloomington    *
*will@ogre.cica.indiana.edu	wsadler@copper.ucs.indiana.edu       *
**********************************************************************
Newsgroups: rec.music.classical
From: shapiro@triton.unm.edu (Henry D. Shapiro)
Subject: Bartok String Quartets -- HELP
Date: Wed, 15 Apr 92 04:05:46 GMT
Organization: University of New Mexico, Albuquerque

WE'VE BEEN HAVING NET PROBLEMS LATELY.  THIS POSTING POSTED FROM triton.unm.edu

NOBODY responded to my last posting.  Maybe it didn't make it onto the
net somehow -- I'm getting suspicious that something is wrong here.
So somebody please reply, even if to say "I ain't got the foggiest".
And surely some of the regulars must have an opinion.  The question was:

  It is time to add the Bartok String Quartets to my collection.  Any
  recommendations for recordings?

There was a lot of mail about Mahler symphonies.  Surely someone has
opinions on these most important quartets on the 20th century.
From: sasghm@theseus.unx.sas.com (Gary Merrill)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 14 Apr 92 13:08:07 GMT
    <1992Apr14.050658.2370@Princeton.EDU>
Distribution: na
Organization: SAS Institute Inc.
Originator: sasghm@theseus.unx.sas.com
X-Bytes: 2397

In article <1992Apr14.050658.2370@Princeton.EDU>, roger@phoenix.Princeton.EDU (Roger Lustig) writes:
|> 
|> Replaced, eh?  One grant that offends Jesse and Chris and some other
|> people, most of whom haven't even seen the work in question, but rely on
|> descriptions of it, and you're out of a job?  Do you even know how NEA
|> grant applications are handled?
|> 
|> This way to commissarism.

No, the way to commissarism is the creation of state bureaucracies such
as the NEA, NEH, etc.  The fact that entrenched academics (or their
counterparts in the "arts" community) become the commissars under
the guise of protecting such agencies from "political" influence
cannot wash the 'commissar' label from them (no politics in academia,
right guys?).

Well, I was there.  I had my grants, and I know how the game is played.
On my desk at this very moment is a grant proposal to an agency such
as those named above requesting funding for a project in what I will
call the broad area of "history of some area in humanities that has
relevance to science" (not wanting to be too specific about the
particular proposal or the agency). It is typical in that it is
research that does not need to be done and certainly does not need
to be funded by our tax dollars.  Nonetheless, I would bet that
(despite what I might say as a referee) this guy will get the grant
because of his track record in academia.  One renegade commissar
won't have much effect on the system.

The point is not that this *one* guy shouldn't get funded, but that
*government* shouldn't be doing the funding of any of this stuff.
I always know it's spring when one of these proposals appears for
me to referee.  It is interesting that the most vocal champions of
government funding in these areas are *not* those claimed to
benefit so much from the results (the average person who would
*see* the plays or the art, or who would *listen* to the music),
but those who benefit directly from the dole.  I take it back --
that's not interesting; it's just business as usual in getting
your government to work for you.  But perhaps we could have a
little less of the "nobler than thou" attitude spread over what
in the end is a self-serving argument?

-- 
Gary H. Merrill  [Principal Systems Developer, C Compiler Development]
SAS Institute Inc. / SAS Campus Dr. / Cary, NC  27513 / (919) 677-8000
sasghm@unx.sas.com ... !mcnc!sas!sasghm
From: adolphso@mizar.usc.edu (adolphson)
Newsgroups: rec.music.classical
Subject: Re: The Glory (????) of the Human Voice
Date: 15 Apr 1992 17:19:21 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: mizar.usc.edu

In article <1992Apr15.211835.11769@CSD-NewsHost.Stanford.EDU> 
spg@Xenon.Stanford.EDU (Stephen P. Guthrie) writes:
> I see that The Glory (????) of the Human Voice featuring Florence Foster
> Jenkins has just been released on cd (RCA).
> Is this entertaining enough to shell out 10 bucks for? I've heard that
> it's painfully funny.

Yes, it is awfully funny, as are the Faust excerpts with other losers
that were on side 2 of the lp (are they included on the cd?).  I'm 
drawn a little more to awful *real* singers: Nadezhda Kniplova's recital
on Supraphon, for instance, is a riot.  She gets a frog in her throat
about a minute into In questa reggia that gets worse and worse and
worse until you find yourself screaming at her to clear her throat.
She never does.  Anna Moffo's French opera arias recording has the most 
hilarious Depuis le jour I've ever heard -- I'd swear it was Eydie Gorme. 
And then there are all sorts of old, old things like Maria Galvany's
recordings.  K.M. Novikova's Song of the Laugh.  Stuff like that.

Arne
From: leifko@ifi.uio.no (Leif John Korshavn)
Newsgroups: rec.music.classical
Subject: Paganini's 4. concerto
Date: 10 Apr 92 12:32:01 GMT
Organization: Dept. of Informatics, University of Oslo, Norway
Originator: leifko@sognsvann.ifi.uio.no


Anyone know of good recordings of Paganini's 4. violin
concerto? Here in Norway, it's absolutely impossible to
get this concerto in the record shops.

I know that Salvatore Accardo has done the 1., and the 2.
in one CD, and the 5. and 6. in two separated CDs including
i.e Le Streghe, La Primavera etc. Does anyone know if he has
recorded the 3. and 4. ?

 
Newsgroups: rec.music.classical
From: daveshao@leland.stanford.edu (David Shao)
Subject: music from movie Solaris
Originator: daveshao@leland.Stanford.EDU
Organization: DSG, Stanford University, CA 94305, USA
Distribution: usa
Date: Mon, 13 Apr 92 01:36:57 GMT

Could someone tell me what was the opening music for Tarkovsky's
science fiction movie Solaris?  I think the music
was written by Bach.  

Tarkovsky eventually immigrated from the Soviet Union to the West.
There are several versions of Solaris with subtitles or voiceovers
in English, none of them being the original movie in  its entirety.
I hope the opening music is the same for all versions.
From: sasghm@theseus.unx.sas.com (Gary Merrill)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 9 Apr 92 17:33:58 GMT
    <1992Apr8.221929.21158@scubed.com>
Organization: SAS Institute Inc.
Originator: sasghm@theseus.unx.sas.com
X-Bytes: 2609

In article <1992Apr8.221929.21158@scubed.com>, hap@scubed.com (Hap Freiberg) writes:
|> In article <1992Apr7.113956.5324@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
|> >Let government do its duty and support the nation's culture! Without it,
|> >the arts will remain the preserve of the middle classes and the well-off.
|> >Stephen Wilcox
|> 
|> Nicely stated and, I think, some ideas for us Americans to ponder....
|> The basic problem, of course, is that the U.S. has no national
|> culture.  Culture has always been the province of either the wealthy
|> or the weird.  The denizens of the political right have always been

Beat us, pity us, for we have no culture!  (What a crock!)

|> suspicious of culture (because so much of it is foreign? Or that the
|> "cultured" tend to be a bit "different"?) and under the banner of "let
|> the market decide" have managed to quash any hints of a national subsidy.
|> As to the idea that the arts will remain the preserve of the middle classes
|> and the well-off, I think you're being optimistic, but that's a topic for
|> another .newsgroup.....
|> 
|> Hap

Hmmm!  He who pays the piper calls the tune.  It has always been thus
throughout history -- specifically with respect to patrons of the arts.
To suppose that one could make things otherwise (especially when the
patron is "the government") seems strikingly naive.  To suppose that
the cause of art (any art) would be furthered by placing control of
patronage in committes of government-appointed or academically-blessed
appointees is likewise naive.  All that is served by this is the career
of someone whose major efforts go toward advancement in such a bureaucracy.
Notice that this isn't really terribly different from art patronage in
a "free market" *except* that taxpayers are *compelled* to be patrons, and
in a free market one vends one's wares wherever one can.

One could always at best hope that one's patron had reasonable taste
and would allow a certain degree of freedom.  Otherwise one sought
another patron.  The patron was not *compelled* to support anyone.

I, for one, resent just the tiniest bit being told that I must become a
patron to artists over whose selection or direction I have no control.
I cannot delude myself into thinking that "the people" or our "national
culture" would be better off for my contribution to such a pork barrel.

Just sign me "a denizen of the political right".

-- 
Gary H. Merrill  [Principal Systems Developer, C Compiler Development]
SAS Institute Inc. / SAS Campus Dr. / Cary, NC  27513 / (919) 677-8000
sasghm@unx.sas.com ... !mcnc!sas!sasghm
From: marks@mcc.com (Peter Marks)
Newsgroups: rec.music.classical
Subject: Source of Finger Grips for CDs?
Date: 15 Apr 92 20:19:40 GMT
Organization: MCC, Austin, TX

I am looking for a source of those finger rings that grip the hubs of CDs in
jewel boxes.  I want to glue a pair in the center partition of my MANY 2-disk
boxes to make them into 4-disk boxes.

P-)

  +------------------------------------------------------------+
  |  Peter Marks, MCC, 3500 W Balcones Ctr Dr, Austin TX 78759 |
  |  (512)338-3349    fax: (512)338-3888    net: marks@mcc.com |
  +------------------------------------------------------------+
Newsgroups: rec.music.classical,rec.arts.tv
From: lampson@tellabs.com (Dave Lampson)
Subject: Re: Theme music from TV show Wings?
Organization: Tellabs, Inc., IL
Date: Mon, 13 Apr 1992 22:23:55 GMT

FAQ alert, Gabe!  I think this one qualifies.

The theme music was adapted from Schubert's piano sonata D. 959.


-- 

Dave
lampson@tellabs.com

For detailed lists of Recommended Classical CDs, Basic Repertoire and Buying
Guide access cs.uwp.edu (131.210.1.4) by anonymous FTP, or email me for info.

Contribute to the rec.music.classical biography project!  Email me your bio!
Newsgroups: rec.music.classical
Subject: Re: Cor ANGLIAS or ANGL'E
From: phoogenboom@eagle.wesleyan.edu
Date: 12 Apr 92 15:47:18 EDT
 <VANCE.92Apr7104122@kyoto.speech.sri.com> <1992Apr08.181239.14971@cs.cmu.edu>
Organization: Wesleyan University

In article <1992Apr08.181239.14971@cs.cmu.edu>, hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
> In article <VANCE.92Apr7104122@kyoto.speech.sri.com> vance@speech.sri.com (Vance Maverick) writes:
>>
>>In article <CB.92Apr7110212@tamarack12.timbuk> cb@tamarack12.timbuk (Chris Brewster) writes:
>>
>>   I have a question, which may have been already answered by implication, but
>>   I need it spelled out: how are oboe, English horn, and bassoon related?  Is
>>
>>The English horn is essentially a scaled-up oboe, but the bassoon is
>>quite different in construction, fingering and even reed style.  The
>>only ways I recall EH differing from OB are the angle in the reed
>>tube and a sort of swelling at the bell.
>>
>>	Vance
> 
> Let's not forget that the EH is pitched a fifth lower than the oboe but is
> lacking a fingered low Bb[the oboe's lowest note] and so only goes down to a
> fingered B[that is to say the E below middle C].  
> And the angle is the bocal that the reed is placed on, not the reed itself.

only bassoon family instruments have a bocal.  Oboes and their relatives call it
a "staple"
-- Peter Hoogenboom

> But you are right about that swollen bell.  Have you ever seen the Hoffnung
> drawing of the English hornist who has just *layed and egg*?

ps -- "laid an egg?"  

> Harold
> hsmoliar@db1.speech.cs.cmu.edu
From: lung@oasys.dt.navy.mil (Terence Lung)
Newsgroups: rec.music.classical
Subject: Good violin instruction in Indiana?????
Date: 6 Apr 92 23:36:16 GMT
Reply-To: lung@oasys.dt.navy.mil (Terence Lung)
Organization: Carderock Division, NSWC, Bethesda, MD

Can anyone recommend a good violin teacher in Indiana,
that is, near W Lafayette/Purdue University?
This instructor should be available for a non-school-of-
music (but ironically of music school caliber) student.
(unfortunately this criteria disqualifies Gingold, Kowalski, 
etc at IU)  How about in Indianapolis?

thanks

Terence
From: andy4@garnet.berkeley.edu (Andy Liu)
Newsgroups: rec.music.classical
Subject: Music for weddings
Summary: What did you have at your wedding?
Date: 8 Apr 92 18:27:00 GMT
Article-I.D.: agate.rvdtkINNl6f
Followup-To: andy@binkley.berkeley.edu
Organization: University of California, Berkeley
NNTP-Posting-Host: garnet.berkeley.edu

I've just been reading through this group for the first time and found the
0.8 version of the FAQ to be very interesting but onto the main question...

I'm looking for people's suggestions for wedding music. I am getting married
in Oct and my fiancee and I would like to have something like a string trio
or quartet or maybe a flutist or harpist. They would play the music during the 
ceremony and most of the reception. The wedding will be outside (Florida) as
will the reception. We both live lively/"happy" baroque music but are open
to all suggestions.

Basically, we are looking for suggestions as to musicians (numbers and type)
and music that you had at your weddding or heard at a wedding you attended. 
Any suggestions are greatly appreciated. Since I'm not a regular reader, 
please reply through e-mail.

Thanks in advance,

Andy Liu
andy@binkley.berkeley.edu
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: Theme in Handel and Mozart
Organization: Camosun College
Date: Wed, 15 Apr 1992 02:37:25 GMT

In article <1992Apr14.200619.26812@athena.cas.vanderbilt.edu>, rickertj@athena.cas.vanderbilt.edu (John Rickert) writes:
> 
>    In Handel's _Messiah_ the theme in the chorus "And with His stripes
> we are healed" is the same as one of the subjects in the "Kyrie" of the
> Mozart _Requiem_.  Is it known for certain whether Mozart was deliberately
> quoting Handel, or did he just coincidentally use the same theme?

I don't know whether it was deliberate or unconscious. Mozart was certainly
familiar with Messiah, because he had, of course, produced his own version
with German texts and all those woodwinds (Mackerras, inter alia, has
recorded this). As the requiem was Mozart's last work it must have been
after this arrangement.

BTW, am I the only person in the world who finds Messiah a monumental
bore? (To listen to, that is, I've always enjoyed singing it.)
-- 
Deryk Barker
Computer Science Dept.
Camosun College,
Victoria, BC
Canada
Newsgroups: rec.music.classical
From: rwilmer@gateway (R. Wilmer)
Subject: Re: government and the arts
Organization: Mitre Corporation, McLean, VA
Distribution: na
Date: Thu, 16 Apr 1992 18:05:14 GMT

In article <1992Apr16.130415.3377@unx.sas.com> sasghm@theseus.unx.sas.com (Gary Merrill) writes:
 >I may not switch phone companies (I
 >can't -- though I could give up my phone).  Tax breaks are subsidies?
 >Sure, in the current scheme of things.  Would I vote for people who
 >want to eliminate these things?  In the immortal words of Ron Reagan,
 >"You bet!"


In trying to figure out what this conversation has to do
with rec.music.classical, I am assuming that
you are referring to the Ron Reagan who
was formerly with the Joffrey Ballet Co.

Richard
From: wy09+@andrew.cmu.edu (Walter Allen Young, III)
Newsgroups: rec.music.classical
Subject: Re: Memorable (?) cover art.
Date: 15 Apr 92 14:21:09 GMT
Organization: Junior, Music, Carnegie Mellon, Pittsburgh, PA

well, there's the philadelphia orchestra's bolero cover, which features
a woman with way too much pancake makeup on holding a lit match in her
mouth...
-lenny
Newsgroups: rec.music.classical