HDTenEightyP/NetNews huggingface dataset:
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Havergal Brian Symphony
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 22 Dec 1992 17:32:39 GMT

jde0@ns1.cc.lehigh.edu (JON DAVID EISENBERG) writes:
: A couple years ago I read a posting about a synphony by British composer
: Havergal Brian (sp?).  The name of the piece was symphony #1 "the GOTHIC".  I
: have looked at every store I could find, but there was no knowledge of such a
: composer, let alone the piece itself.  I would appreciate any information
: about recordings/performances that are available.

William Havergal Brian, 1876-1972. Wrote 32 symphonies - thje most by
anyone since Haydn I believe - of which about 20 were writeen after
his 80th birthday.

The Gothic (I recall when this was called No.2 but it now seems to be
No.1) is so enormous that it has only ever been performed maybe half a
dozen times. You will find it under 'largest symphony' in the Guinness
Book of Records.

There is only one commercial recording (although I believe there is a
pirate version of the first professional performance, relayed from
the RToyal Albert Hallin 1966, under Sir Adrian Boult). 4 soloists, 7
choirs, the CSR Symphony Bratislava *and* the Slovak Philharmonic
conducted by Ondrej Lenard on Marco Polo 8.223280-281 (2 CDs).

The work last 111 minutes: the first 3 movements (instrumental)
lasting appx. 36 minutes, with the rest taken up by the choral finale
- a setting of the Te Deum.

There are those - including McGill musicologist Paul Rapoport - who
maintain that it is the finest choral and orchestral work since
Beethoven's 9th. I have to disagree, I think Mahler's 2nd and 8th are
both incomparably finer, but it is still an interesting piece.

Marco Polo seem to have launched a Brian series (there is also a 1970s
recording of symphonies 8 & 9 on EMI and maybe 11 & 32 (?) on
Unicorn). Just announced are two further Cds, one of which contains
the 4th - also using larger forces than Mahler's 8th.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical,rec.music.early
From: mikulska@comet.Princeton.EDU (Margaret Mikulska)
Subject: Re: *Very* early music
Originator: news@nimaster
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Date: Tue, 22 Dec 1992 19:07:32 GMT

In article <1992Dec22.180113.6104@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
>Talk about early music on period instruments, this goes pretty far.
>
>The following is a loose translation of an article in the French
>"Journal du CNRS", dec. 1992. It describes a concert of 2d cent. BC music
>given recently in Athens.
>[...]
>specialized in musical notation and ancient scores, which took her through 
>ancient history, ceramology [sic], iconography, epigraphy, organology [sic],
>and even Greek mathematics and philosophy; [...]

Out of curiosity: why did you put [sic] after "organology"?  It's only
natural (in this context) that she studied the history of musical 
instruments.

-Margaret

Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Single-volume reference books: Concise Grove? (almost a faq)
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Wed, 30 Dec 1992 17:12:57 GMT

In article <will.725732515@ogre> will@ogre.cica.indiana.edu (William Sadler) writes:

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

The revised edition (by Don Randel) is my choice.  What was so good about 
the Apel?  (Also, there are some real howlers in there--see under "accent,"
for instance.)

Roger
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Date: 21 Dec 1992 19:19:33 GMT
Organization: University of Houston
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu

[...]
>>
>>I must admit I'm starting to enjoy these "Greatest All-Time" and "Favorite" 
>>threads, so I'm starting another one.  :-)   The question is, What is your
>>favorite piano concerto?
>>
>

       John Cage  -- Piano concerto
       Hans Werner Henze -- 2nd Piano concerto

Bill

+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: Ozawa
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Wed, 23 Dec 1992 16:12:44 GMT


In article <1992Dec22.211008.4569@nosc.mil>, sampson@nosc.mil (Charles H. Sampson) writes:
|>      In a recent thread on Greatest Living Conductors, one respondent
|> placed Ozawa near the very bottom of his list.  I have to agree.  I
|> never cease to be amazed at the breadth of styles that he manages to
|> mangle.  Yet he continues on, conducting all over the world.  Clearly
|> there are some Ozawa fans out there.  What kind of music does he do
|> well?  Are there any particular recordings that show his "talent" in
|> a favorable light?
|> 
Yes. All of them. 

I suppose there are a few famous conductors who have "mangled" a piece
at one time or another, but as far I'm concerned, Ozawa is not one of 
them. However, rather than dismiss your critique out of hand, could you
provide, in your estimation, a particularly egregious example of Ozawa's
"mangling", and explain in what way you think he mangles it?

Enquiring minds want to know.

- BK
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 22 Dec 1992 02:00:49 GMT

chem91@Elroy.UH.EDU (Bill Harrison (713)-743-2789) writes:
: [...]
: >>
: >>I must admit I'm starting to enjoy these "Greatest All-Time" and "Favorite" 
: >>threads, so I'm starting another one.  :-)   The question is, What is your
: >>favorite piano concerto?

Favourite Beethoven Concerto No.4 (of course)
Favourite Mozart Concerto K491 (or maybe 466 or 482 or 488...)
Favourite Concerto - varies but currently the Busoni.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: xilin@northstar.dartmouth.edu
Newsgroups: rec.music.classical
Subject: Re: Sviatoslav Richter
Date: 22 Dec 92 02:37:54 GMT
Organization: Project NORTHSTAR, Dartmouth College, Hanover, NH


casseres@apple.com (David Casseres) wrote:

> Another gem is the Beethoven Triple Concerto, with Rostropovich and
> Oistrakh, and von Karajan conducting the Berlin Philharmonic.  I've never
> heard another recording of this that achieves the magic balance among > the
> piano, cello, violin, and orchestra.

Yes!!!!!  Very positively agreed.  I posted one article a while ago talking about Oistrakh and mensioned the same piece and performance.  To my extreme disappointment, no one in this news group has ever commented a single word on it.  I wonder why no one like that music.  It is, in my point of view, a marvelous composition and a miraculous performance.

Xilin@dartmouth.edu
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Bernstein's "Live" Mahler
Organization: MIND LINK! - British Columbia, Canada
Date: Thu, 31 Dec 1992 05:59:16 GMT

I just got the DGG Mahler 3rd and 7th by Bernstein from the library, both of
which are allegedly "live" recordings. I wonder -- how do they eliminate the
sound of applause from the end of these recordings? Surely, the audience must
have responded enthusiastically! By the way, I have to say this 3rd is really
outstanding. If I didn't have the Horenstein already, I would probably buy it
myself (come to think of it, my favorite CD store is having a 20% off sale
which ends tomorrow...).

Newsgroups: rec.music.classical
From: syliao@athena.mit.edu (Stan Yi-Huang Liao)
Subject: Re: RFV: BRUCKNER RE: THE BEST
Organization: Massachusetts Institute of Technology
Date: Sun, 27 Dec 1992 17:39:06 GMT

Frank.Panettiere@f2010.n391.z1.FidoNet.Org (Frank Panettiere) writes
>OK.  Based on his 0th, 4th, 7th, and 9th Symphonies, and his Te Deum, I'm
>another who enjoys, and does not HATE, Bruckner's music.  

The 8th is also a great one.  I love its finale!

>Let's see.  If now two of us on this net don't "hate" his music and 99% DO,
>then there will have to be 198 votes on the "other side".  I'm waiting to
>see that extensive list!   
>                                                        Frank

Now there are at least three of us on this net who like Bruckner's
music.  So we are expecting 297 votes on the "other side" now.

                                                         Stan
Newsgroups: rec.music.classical
From: cs748ab@maccs.mcmaster.ca (Andrew Fung)
Subject: Re: Recorded using B&W speakers
Keywords: B&W 
Organization: Department of Computer Engineering, McMaster University
Date: Tue, 22 Dec 1992 23:19:24 GMT

I wonder if B&W speakers can save the world recorded music. Before DG uses
B&W speakers, their recordings are usually contricted and tutti is coarse.
Sometimes, they have really good recordings, I admit. But after their use of
B&W speakers, their recordings are now totally different. They are no longer
compressed, constricted. They now have a wide dynamic and frequency range.
Some recordings, e.g. Bernstein's late ones, almost want to burn out your
speakers. Now, Decca (London), EMI are also adopting the use of B&W speakers.
I wonder if B&W speakers are really that magical?

Andrew Fung
Department of Electrical
and Computer Engineering
McMaster University
Hamilton, Ontario, Canada
andrew@vision1.eng.mcmaster.ca

Newsgroups: rec.music.classical
From: idealord@dorsai.com (Jeff Harrington)
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Organization: The Dorsai Embassy, New York's Computer Consulate. +1.718.729.5018
Date: Mon, 21 Dec 1992 17:57:49 GMT

As a composer and pianist here's my favorites and why.
 
1. Mozart Cminor K491 - The variations movement is one of the most 
melodic variations movements ever written.  The first movement is 
astonishing in its sweep.
 
2. Mozart Cmajor K503 - Herculean opening.  Melodies so simple yet so 
serene in that uniquely Mozartean manner; masking world weariness (sorry 
to wax romantic :-).
 
3. Beethoven 4 - Unpretentious yet majestic.  Does anyone remember the 
story of Schweitzer? playing the piece to a bored group of native 
Africans - until the slow movement with that fantastic ponderousness.  
They broke in to laughter, couldn't believe that incredible monstrous 
contrast between the piano and those orchestral octaves.  
 
4. Lutoslawski (Written in 1986?) - The greatest piece of music (since 
1945) imho.  Powerful, melodic, driving, with climaxes that Brahms would 
be jealous of.  
 
5. Brahms 2 - One of the few Brahms orchestral pieces I can relate to.  
Completely without his usual ponderousness or over-seriousness.  Melodic 
in a completely original way, fresh and bold.  Those horn melodies! 
 

Jeff Harrington      
IdEAL ORDER               
idealord@dorsai.com
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: all-inclusive list - not!
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Distribution: rec
Date: Fri, 1 Jan 1993 20:56:54 GMT

bob.warren@canrem.com ("bob warren") writes:
: 
: DB: Of course, your list also omits some outstanding names whose output is
: DB: of very high quality overall: Carlos Kleiber, Charles Mackerras,
: DB: Wolfgang Sawallisch, Istvan Kertesz, Eugen Jochum, Gunther Wand,
: DB: Giuseppe Sinopoli, Jean Martinon, Kirill Kondrashin, Herbert
: DB: Blomstedt, Riccardo Muti, Leonard Slatkin, Andre Previn, Gerard
: DB: Schwarz, Otto Klemperer, Rudolf Kempe, Frans Bruggen, Sigiswald
: DB: Kuijken, Gustav Leonhardt, Reinhard Goebel, etc. Each has his
: DB: strengths and weaknesses, and I'm sure other netters will want to
: DB: comment on likes and dislikes from this list, as well as add a few
: DB: names to it.
: 
: DBIndeed: Furtwaengler, Toscanin, Erich Kleiber, Bruno Walter, Jascha
: DBHorenstein, Carl Schuricht, Yevgeni Mravinski to name just a few.
: 
:    Realizing that you _do_ say " to name just a few. ", I am
:     curious that the name of Sir Colin Davis does not appear.
: 
:    Are his interpretations in the middle or lower half of the scale?

Generally in the middle I would say. Davis is problematic: his Berlioz
is excellent, indeed some would say unsurpassed. His 1964 (6?) messiah
was groundbreaking, and I have read good things about his mid-60s
Stravinsky and Beethoven 7, although I haven't heard them. But he does
seem to get tempted into areas he should avoid: there's a Philips Das
Lied von der Erde (Mahler) conducted by Davis - it's hopeless. He also
recorded Mahler 1 for somebody, and what I heard of that was pretty
dreadful too. I heard him conduct Mahler 8 in London in 1986 -
disastrous! he seemed to think it was a rerun of Berlioz!

Despite the fact that we share the same birthday (25 September) I feel
no affinity with him and have very few of his recordings, which is why
his name did not immediately spring to mind.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Harnoncourt and Svedja
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Sun, 20 Dec 1992 19:57:17 GMT

hurben@lamar.ColoState.EDU (Mike Hurben) writes:
:   I have noticed that many people express some interest in Harnoncourt and
: his Beethoven symphonies.  I have only heard a few of his interpretations,
: mainly from "The Record Shelf."  As you probably know, Jim Svedja regards
: NH as "an incompotent bozo," and from some disgusting Baroque recordings I
: heard, I would have to agree - I heard some Handel on period instruments that
: was just comical...  So I am very curious how this guy does Beethoven.
:   This also brings up the question of what to think of JS.  In general, I tend
: to agree with his recommendations, but there are exceptions.  For example, he
: says of Karajan's Parsifal : "I wouldn't wish it on a dog,"  while I think
: it is one of the finest recordings I own.  So if I am suspicious of NH, it is
: not because JS does not like him, but simply because I have heard only rotten
: music come from him.  What do you think?

Sounds to me as if JS is the "incompetent bozo". Thed Beethoven set is
arguably the finest ever stereo set. I recently came across NH's 4
Seasons, and was struck by its individuality and freshness - which
considering I'd recently expressed a desire never to hear the piece
again, says something.
--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: ssc@nwu.edu (Steven Chung)
Subject: Re: Bohm conducts Berg - "Wozzeck" and "Lulu" - a CD review
Originator: schung@casbah.acns.nwu.edu
Organization: Northwestern University, Evanston Illinois.
Date: Sun, 3 Jan 1993 01:15:45 GMT


Any opinions on Tate's new EMI 'Lulu' with Patricia Wise?

Newsgroups: rec.music.classical
From: broken@venison.bae.bellcore.com (Tony Brokenborough)
Subject: Re: The BEST finale!
Organization: Bell Communications Research
Date: Tue, 22 Dec 92 15:47:44 GMT

In article <JWA.92Dec19210857@vipunen.hut.fi>, jwa@vipunen.hut.fi (Jyrki J Wahlstedt) writes:
|> In article <1992Dec18.170128.24867@walter.bellcore.com> broken@venison.bae.bellcore.com (Tony Brokenborough) writes:
|> 
|> >|> >
|> >|> >Bruckner ????? 
|> >|> >
|> >|> >Can any good thing come from him ?
|> >|> >
|> >|> 
|> >|> Quite a lot already has, m'laddie.
|> >|> 
|> 
|> >Name something that has !!!!!!
|> 
|>   If you don't like Bruckner's music, keep your mouth shut! You
|>   don't have to like it, but other people (including me) like it.
|>   His music is *grand* and I've always thought that one can
|>   judge people upon the music they like or don't like...
|> 
|>   Otherwise one is tempted to think that you forgot your smileys
|>   after the statement.
|> --
|> !
|> !	Jyrki Wahlstedt
|> !		Jyrki.Wahlstedt@hut.fi
|> !
|> !  Our life is no dream, but it should and will perhaps become one.
|> !


Oh please shut up !!!!!!

99% of the people on the net HATE's Bruckner's music. Even his contempories
and the critics of his day hated his music. Whenever his music was critisized,
he changed it !!!  That's why there are numerous 'originals' to many of his
works. (The 'Bruckner problem' !!!!! )

I guess you haven't read the article posted here which talks about one 
performer getting PHYSICALLY ILL after playing some of Bruckners junk !!! 
Newsgroups: rec.music.classical
From: broken@venison.bae.bellcore.com (Tony Brokenborough)
Subject: Re: The BEST finale!
Organization: Bell Communications Research
Date: Tue, 22 Dec 92 15:41:52 GMT

In article <1992Dec18.235913.674@spang.Camosun.BC.CA>, dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
|> broken@venison.bae.bellcore.com (Tony Brokenborough) writes:
|> : In article <2B31FAEE.6591@news.service.uci.edu>, jdooley@maemaster.eng.uci.edu (John R. Dooley) writes:
|> : |> In article <1992Dec17.203233.25237@walter.bellcore.com> broken@venison.bae.bellcore.com (Tony Brokenborough) writes:
|> : |> >
|> : |> >Bruckner ????? 
|> : |> >
|> : |> >Can any good thing come from him ?
|> : |> >
|> : |> 
|> : |> Quite a lot already has, m'laddie.
|> : |> 
|> : |> John D.
|> : |> 
|> : |> 
|> : 
|> : 
|> : Name something that has !!!!!!
|> 
|> 11 symphonies, 3 Masses, Te Deum, much choral music, String Quintet.
|> 
|> --
|> Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
|> Email: (dbarker@spang.camosun.bc.ca)
|> Phone: +1 604 370 4452


I hope that you aren't including his so-called 'romantic' symphony in the
above list !!! 
Newsgroups: rec.music.classical
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Beethoven's 7th Symph., Op. 32???
Date: 29 Dec 92 16:06:49 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]


Has anyone else seen the Solti Beethoven 7th on Great Performances where
the caption on screen at the beginning of the performance listed Beethoven's
7th Symphony as Op. 32????

Couldn't believe that!

Aside from that, the performance was quite ordinary, I thought.  Don't know
why he made such a big fuss about buying a new score and not listening to 
any records in order to give a "fresh" interpretation.


John
zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Newsgroups: rec.music.classical
From: graziano@ravel.udel.edu (Lisa Marie Graziano)
Subject: favorite piano concertos
Organization: University of Delaware
Date: Mon, 21 Dec 1992 15:43:39 GMT



First:  I am a pianist and "knowledgeable about music" (someone wanted to
know)- however I'd like to point out that "just a listener" can _also_ be
very knowledgeable; and before you make such distinctions between
professionals and everyone else (I am not a professional), remember _who_
music is written for, and who keeps it going (ie, your average "just a
listener") :)
However...
Beethoven:  #s 3, 4, and 5, but especially #4.
Others:  Probably #1 is Brahms #2. Not as majical as Beethoven, but he
         asks a hell of alot from the piano, and makes it _work_.
	 Also Gershwin, Schuman, Mozart #21 and 23, Seant-Seans #2, and, yes, 
some of Bach's universal, timeless keyboard concertos (just about any one will
do).  Its been a while since I've really listened to Rachmaninoff's, so I
cant include him on the list.
Aside from 'musical greatness', there are a few old, familiar friends:
McDowell, Tchaikovsky, Dvorak, Greig, Chopin (esp #1).
Lisa
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: Saxophone, use of -
Date: 22 Dec 92 21:34:21 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

rwilmer@carrier.mitre.org (R. Wilmer) writes:
> >Friends and I were chating about music in general, and saxophones in
> >particular. No one could mention a piece of classical music, orchestral,
> >chamber or other, where one or more sax were used. Can you?

Whole *sheetloads* of Michael Nyman, mon.

Also see a recommendation for John Harle and the Bournemouth Sinfonia
that I put in in a Paul Lansky followup that was a part of my personal
"best of the year" list. No way I'm going to type it in again....

--
The law moves quickly in the rain/and chokes the world with memorials./The
courts accept the lowest superstition/into evidence. And we embrace quickly in
the rain,/conceiving a hale infant with hands to wrinkle/the bedsheets toward
it, wave by trough by wave./Gregory Taylor/Heurikon /Madison, WI/608-828-3385
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Re: Beginning a classical collection
Date: 30 Dec 92 20:51:34 GMT
Article-I.D.: cronkite.1992Dec30.205134.23099
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]

You're in luck!  There's a book called "Who's Afraid of Classical Music,"
by Michael Walsh.  Even though it's a *little* pandering at times, it's
a good book over all, and he recommends conductors, performers and recordings.
His taste is quite good, IMHO.

Hope this helps!


John
zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: re: Ozawa
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Wed, 23 Dec 1992 18:21:03 GMT

In article <1992Dec22.211008.4569@nosc.mil> sampson@nosc.mil (Charles H. Sampson) writes:
>     In a recent thread on Greatest Living Conductors, one respondent
>placed Ozawa near the very bottom of his list.  I have to agree.  I
>never cease to be amazed at the breadth of styles that he manages to
>mangle.  Yet he continues on, conducting all over the world.  Clearly
>there are some Ozawa fans out there.  What kind of music does he do
>well?  Are there any particular recordings that show his "talent" in
>a favorable light?
>
>				Charlie


Ozawa tends to do well with some of the big choral-orchestral blockbusters,
such as _Carmina Burana_. He has also done a decent _Gurreleider_.


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical