HDTenEightyP/NetNews huggingface dataset:
From: hellerS@moravian.edu (sjh)
Subject: Re: Anybody heard of Gliere?
Distribution: na
Date: Tue, 12 Jan 93 16:23:35 EST

I have a LP of the "full length" Ilya Morametz (sp?) Symphony. Gad, it's a
long, over blown work. The best thing about it is the cover, showing an
enourmously fat man on horseback, in full battle armor. Otherwise it's a
rather longwinded, never-ending story of a symphony...
From: dwong@chopsuey.pico ( paganini's admirer )
Subject: Re: who is the concert master of berlin phil?
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Tue, 12 Jan 1993 23:48:05 GMT

>
>Berlin Phil. is something special: it is a SUPER orchestra and only a
>SUPER  player can enter it. I suppose Yasunaga really deserves his
>position WITH HIS MUSIC AND TECHNIQUE, though I have not ever heard him
>playing in solo.
>

I am sure of that too.  But still, where did Yasunaga come from?  Where did he
study?  Did he win any major competetion? etc.

>By the way, I remember another story: VPO (Vienna Philharmonic
>Orchestra)  made an audition to employ a viola player. During the
>audition, the examiners (or the members of the screening committee)
>listened to the candidate players playing on the other side of a curtain
>or a screen, in order to judge them only by their music and technique,

BTW, all major and minor professional orchestra auditions are behind screen.

>not by their appearances. As a result, the player the committee selected
>was an Asian. However, she (the player) did not become a member of VPO
>because the Austrian government (I think I heard so) did not want a
>non-white player to enter VPO.
>

In VPO the issue is different, they don't allow any female players.  I never heard
of the asian female story though.  But I think they have non-Austrian male players.

>The situation is steadily changing: there are more and more Asian players in
>German major orchestras, maybe also in Austrian ones...
>

But it is still unbelievable to see an asian concertmaster in any 1st class orchestra.
Conductors or soloists are less surprising.

dw

Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Messiah "Amen" and tympani
Organization: Open Software Foundation
Date: Tue, 5 Jan 1993 13:45:56 GMT

bmtong@cs.cuhk.hk (Tong Bo-Ming) writes:
| packer@amarna.gsfc.nasa.gov (Charles Packer) writes:
| 
| >In the Colin Davis recording of Handel's "Messiah"
| >the final "amen" is "spelled out" by the typamni.
| >In Robert Shaw's recording, the tympani play only
| >a roll on the last syllable. Which way is "right"?
| 
| What do you mean by "spell out" ? I did not hear that recording.
| I guess the last amen (I don't remember) should be a plagal cadence,
| right ?  Then it should be G and D.
| 
| I just wants to mention that in Handel's time, only 2 timpani are
| used.  They are ALWAYS tuned to the tonic and the dominant (i.e. D
| and A, A is lower than D).  If you hear any other note produced,
| then it should not be by Handel.

It would be quite possible to use a D on both chords.  Composers
constrained by the realities of two fixed timpani would plunk down any
note that appeared in the chord, even if it isn't the root.  We can then
get into arguments about authenticity; I would be perfectly happy to
suggest to the conductor a better-sounding note, given the wind section
isn't using baroque instruments.

However, I can't speak to the case; I'm not familiar with either
Handel's or Mozart's notes -- you could be hearing that difference.

It isn't only a baroque/classical problem.  Some modern restricted-
orchestra arrangements hamstring themselves by staying with two drums,
usually for reasons of space.  For example, Leroy Anderson's Christmas
Festival (the most recent example I played) has an excruciatingly wrong
note near the beginning.  At the time he wrote, most everyone had
pedals, but I guess he wanted it to be playable (just) on hand cranks.

| Even Beethoven used only 2 timpani.  However, he tuned them
| differently.  (e.g. D and another D an octave higher in the 2nd mvt.
| of the 9th Symphony).

Actually octave F's, which is even more remarkable (octave D was
unobtainable then, and rare now).  Expecting the timpanist to retune
between movements accurately enough for the solo was yet another
challenge he set his players :-)
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Shine out, fair sun, with all your heat!  Black winter freezes to his seat...
The boneless fish close quaking lies...the stars in icicles arise!
Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: New Boulez discs on DG - review
Organization: Educational Computing Network
Date: Thu, 7 Jan 1993 00:36:13 GMT

I reviewed PB's new Le Sacre a few months ago and basically I like the
1969 version much better.  I also saw him conduct it with the CSO last month,
and like the new DG album, he seems to sort out the textures very well.
It is like you hear new dimensions of conterpoint between two
instrument groups, that previously passed you by without you hearing it.
Or something like that.  One thing he did with CSO was have a more fluid
sense of tempo.  He knew just how much to pick up the tempo for some
parts.  On the transtion to "Ritual of the Ancestors", the way he
brought the tempo down to the Lento was stunning.  But the CSO had some
big time mistakes on the night I saw it.  I couldn't believe how many
problems they had.

I also have that Bartok disk, those are from what he did in December of
1991.  I saw the Cantata live, and was glad to get this work since it
isn't recorded much.

Jeff

Newsgroups: rec.music.classical
From: marcs@slc.com (Marc San Soucie)
Subject: Re: Request - Cage on Video
Organization: Servio Corp, Beaverton Oregon, US
Distribution: na
Date: Tue, 5 Jan 1993 22:24:02 GMT

Edgar Erwin (erwin@helsinki.ks.uiuc.edu) writes:

> haus der luge writes

> > Could anybody help me find any videotapes of John Cage performances?

> In 1983 Peter Greenaway directed four 1-hour documentaries on American  
> Composers who were giving concerts in England that year.  The four videos,  
> available as a set `4merican Composers' from Mystic Fire, profile John Cage,  
> Meredith Monk, Robert Ashley, and Philip Glass.

> PS.  I can look up the address for Mystic Fire if you need it.

This would be a sublime public service. Kindly do.

    Marc San Soucie
    Portland, Oregon
    marcs@slc.com
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Ravel
Organization: Morgan Stanley & Co., New York, NY
Distribution: usa
Date: Wed, 6 Jan 1993 21:53:45 GMT

In article <1993Jan6.191142.11555@kadsma.kodak.com> pajerek@telstar.kodak.com (Don Pajerek) writes:
:
>The harmonic language and surface finish of Ravel's pieces,
>particularly the orchestral pieces, is extremely lush and polished.
>Some of the superficial aspects of this style have at times been
>used by Hollywood film-score composers, which has had the unfortunate
>result of making the original pieces sound trite at first. It is
>well worth the effort to move beyond this reaction. There is also,
>of course, a rich body of masterworks for piano, and these
>may prove to be more rewarding for some listeners who are put off
>by the sound of the orchestra music. I might suggest _Gaspard de la Nuit_
>or _Le Tombeau de Couperin_.



No one has yet mentioned the song cycle "Scheherezade", which I hold
as one of the most sheerly beautiful things composed for voice and
orchestra in this century.  An unsurpassed recording, coupled with
Berlioz' "La Nuits d'Ete", features Crespin and Ansermet, available
at midprice on London.  I guess this is my first recommendation for
those who have so far failed to develop a taste for this composer.

:

   
>
>Don Pajerek
>
>Standard disclaimers apply.


Newsgroups: rec.music.classical,bit.listserv.allmusic,ny.general,nj.general
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: New York City Opera Starts National Carmen Tour
Organization: Mail to News Gateway at Wang Labs
Date: Tue, 12 Jan 1993 19:53:21 GMT

Here's the January and February schedule for the New York City Opera
national tour of Carmen.  All performances are in the evening.  The
tour continues throughout the US until the end of March, except for
four days off.

January

21  Bridgewater, MA   Campus Ctr. Auditorium, Bridgewater St. College
23  Brooklyn, NY      Whitman Auditorium, Brooklyn College
24  Rochester, NY     Eastman Theater
25  Syracuse, NY      Crouse-Hinds Theater
26  Providence, RI    Veterans Memorial Auditorium
27  Storrs, CT        Jorgensen Auditorium
29  Brookville, NY    Tiles Center, CW Post Campus
30  Brookville, NY    Tiles Center, CW Post Campus

February

1   Annapolis, MD     Alumni Hall, US Naval Academy
2   Williamsburg, VA  Phi Beta Kappa Hall, Col. of William & Mary
3   Williamsburg, VA  Phi Beta Kappa Hall, Col. of William & Mary
4   Radford, VA       Preston Auditorium, Radford U.
6   Charleston, WV    Municipal Auditorium
7   Morgantown, WV    Concert Theater, Creative Arts Ctr. W.V.U.
9   Wilmington, DE    Grand Opera House
10  New Brunswick, NJ State Theater
11  State College, PA Eisenhower Auditorium, Penn State
12  Hershey, PA       Hershey Theater
13  Utica, NY         Stanley Performing Arts Center
14  Burlington, VT    Flynn Theater, U. of Vermont
16  Durham, NH        Johnson Theater, University of NH
17  Orono, ME         Hutchins Concert Hall, U. of Maine
18  Portland, ME      City Hall Auditorium
19  Schenectady, NY   Proctor's Theater
20  Elmira, NY        Samuel Clemens Performing Arts Center
21  Buffalo, NY       Shea's Buffalo Theater
22  Kitchener, ONT    Center in the Square
23  Akron, OH         E.J. Thomas Auditorium
25  Columbus, OH      Ohio Theater
26  Oxford, OH        Millett Arena, Miami University
27  Kalamazoo, MI     James W. Miller Aud, Western Michigan U.
28  Madison, WI       Oscar Mayer Theatre, Madison Civic Center

Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Mozart, Tourettes and Spelling.
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Fri, 8 Jan 1993 16:10:54 GMT

In article <1ik4hvINN6af@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
>In article <1146@dscatl.UUCP> mgresham@dscatl.UUCP (Mark Gresham) writes:
>>In article <1993Jan6.024458.20162@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>>>b) What evidence as to the involuntary nature of Mozart's obscene speech
>>>exists?  I can think of no other behavior on his part that would suggest
>>>Tourette's Syndrome.

>>The symptoms of an extreme case of Tourette's would have prevented
>>Mozart from being much of a success as a concertizing pianist;
>>milder symptoms would have interfered in any case.  It would only
>>be conceivable if the symptoms disappeared while performing (a la
>>Mel Tillis and his stuttering).  But with Tourette's, that would
>>be highly unlikely.

>A few months back, the New Yorker had a lengthy article by Oliver Sacks on
>a case of Tourette: the man was a highly skilled and successful *surgeon*
>who lost all signs of the syndrome while he was practising, and returned 
>to babbling, twitching and compulsive touching of things as soon as he left
>the operating room. 

Moreover, Mozart's performing style, by all accounts, was the opposite
of Sacks' musician-with-Tourette's, whom he called Witty Ticcy Ray.  (Drummer.)
All the accounts we have of Mozart's behavior -- and there are many, not
only from his father's extensive touring correspondence but also from
many of his Viennese contemporaries -- suggests no such thing.

>So no, I don't think Tourette by itself would have
>interfered with his skills (it would have caused a problem with social
>acceptance, if that is what you meant; i.e., he would have been locked
>away at a tender age).

>Anyway, I think that, since the only evidence are the obscenities in his
>letters, there is not much of a case for Tourette.

And, given that the letters are more like evidence *against*...


Roger
From: rags@triples.math.mcgill.ca (Robert A. G. Seely)
Newsgroups: rec.music.classical
Subject: Re: Carnival of the Animals
Date: 4 Jan 93 14:53:38 GMT
Organization: /etc/organization

In article <1993Jan3.163343.11022@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
>
>For some reason I think that the Gingold version was on DG, coupled with Peter
>and the Wolf, but I could be wrong.
>
>Stephen Wilcox             |   For Sale: Posts in British Government. Suit
>wilcox@vax.oxford.ac.uk    |   outgoing American. Highest bids accepted.


Not wrong - my kids grew up with this recording (and esp liked the Peter and
the Wolf).  What a voice.  Only real criticism: the voice is totally
disjoint from the orchestra (you can hear the different recording ambience,
and there is no background orchestral sound when HG recites.  The effect is
of two performances without much connection between them.  But this is
perhaps unavoidable.

-rags
Newsgroups: rec.music.classical
From: sakimura@sscl.uwo.ca
Subject: Walter Leigh (composer)
Organization: Social Science Computing Laboratory
Date: Fri, 8 Jan 1993 16:00:20 GMT

Does anyone know the recordings of composer Walter Leigh?
Any information welcome. 
Please E-mail me: I will summarize.

Thanks in advance. 

Natsu Sakimura

Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Roussel
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 7 Jan 1993 23:54:48 GMT

In article <CB.93Jan7163354@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>Richard Smith writes:
>
>   Roussel conducts Roussel        Badly underrated composer who wrote some 
>				   excellent music. Much here well-played. 
>				   At any rate, the price is very right.
>
>I don't know if Roussel is underrated in the sense that someone says
>"this guy is mediocre"; mainly he seems to be ignored.  But I agree
>that, at least for my taste, he's a lot better than his level of
>exposure would suggest.  Anyone who likes, say, Prokofiev, Ravel,
>Hindemith, or that general category, should definitely check out
>Roussel.  He might be most similar to Honegger (but of course totally
>different :-), who is similarly underappreciated.
>
>Chris Brewster
>cb@cray.com
>

Last year Erato reissued the Munch performances of Roussel Symphonies
3 and 4, which are superb.  And on DG, now cut-out but still available
here and there, Igor Markevich's "Bacchus & Ariane", coupled with one
of my favorite recordings of "Symphonie Fantastique".

Personally, I prefer Roussel to both Hindemith and Honegger.
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical
Subject: Re: Pittsburgh Symphony Wins New York Times Award
Date: 11 Jan 93 19:29:58 GMT
Article-I.D.: cs.C0pFI2.LDq.1
Organization: School of Computer Science, Carnegie Mellon

Sorry for the slow response; I was out of town.

In article <1993Jan08.124004.4662@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>In several different posts, Chris Colby writes:
>
[some stuff deleted]
>
>the way I read your paragaph, you are indeed impugning the players as when
>you complain about performance quality.

Yes, that was misleading of me.  I realized afterward that I had done that,
and consequently I said very clearly in my next post that I have no
complaints about the players of the Pittsburgh Symphony Orchestra.  Allow
me to repeat that here for anyone who did not read my original
clarification.  I apologize for this confusion caused by my carelessness.

-chris
Xref: sparky rec.music.classical:19847 ny.general:519
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical,ny.general
Subject: Re: Pittsburgh Symphony Wins New York Times Award
Date: 7 Jan 93 16:18:20 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <1993Jan7.102115.609@nuscc.nus.sg> smoliar@iss.nus.sg (Stephen Smoliar) writes:
>acid+@cs.cmu.edu (Christopher Colby) writes:
>: I'm not sure exactly what all this means, but I heard this performance in
>: New York was, not surprisingly, absolutely panned.
>:
>Now that you have clarified your source, I think we can take an inside opinion
>for what is worth (particularly when you consider the quality of their own
>FIDELIO)!

I must not have been clear.  The source was not my friend's personal
opinion, but rather his report of what was (supposedly) in the papers.

-chris
Newsgroups: rec.music.classical
From: smoliar@iss.nus.sg (Stephen Smoliar)
Subject: Re: Penguin Cafe Orchestra (was Re: Help! Name this piece)
Organization: Institute of Systems Science, NUS
X-Newsreader: Tin 1.1 PL4
Distribution: na
Date: Thu, 7 Jan 1993 08:52:26 GMT

torenvl@ecf.toronto.edu (TORENVLIET GERARD LAWRENS) writes:
: Speaking of the Penguin Cafe Orchestra, I was wondering what you guys out 
: there think of them.  Personally, although I only own one of their albums,
: I think they are brilliant.  The album I have is "Broadcasting from Home;"
: can anyone point me to some other good albums by the same, or similar groups?
: 
I have several of their recordings and have attended two concerts, one at the
Brooklyn Academy of Music and the other in Los Angeles.  (We had front-row
seats in Los Angeles.  We took our life-sized emperor penguin doll from the
World Wildlife Fund, put a bow-tie on it, and brought it along.  They seemed
appropriately amused.)

I recently acquired a CD from Wayside of a group called WOO.  Wayside claims
they are for people who like the Penguins, and I basically agree.  The disc
is called IT'S COSY INSIDE and is released by Independent Project Records (IPCD
23).  If you are not dealing with Wayside and your local record shop thinks
you're too weird for special treatment, try getting in touch with their
distributor:

	The Chameleon Music Group
	3355 W. El Segundo Boulevard
	Hawthorne, California  90250
	USA

(As you might imagine, their compositions have no opus numbers.)
--
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical
From: pieterh@sci.kun.nl (Peter Herweijer)
Subject: Summary: Inbal's Mahler
Summary: Inbal & Mahler: Good, not Great.
Keywords: Mahler, Inbal
Organization: University of Nijmegen, The Netherlands
Date: Fri, 8 Jan 1993 10:43:55 GMT

Thanks to all who reacted to my question about the quality of
Inbal's Mahler symphony performances.  The common denominator
of most answers was: these are good modern performances, but
not great, and they have little to add to the interpretations
by Walter, Horenstein, Bernstein and others.

Deryk Barker directed me to his text, available by ftp on
camins.camosun.bc.ca ([.MISC]MAHLER.TXT). Thanks, but I already
had it -- and the Beethoven text -- but I'll take the opportunity
here to recommend it to everybody else.

Peter Herweijer
pieterh@sci.kun.nl
Newsgroups: rec.music.classical
From: marcs@slc.com (Marc San Soucie)
Subject: Re: When did Ives stop composing?
Organization: Servio Corp, Beaverton Oregon, US
Distribution: na
Date: Wed, 6 Jan 1993 03:29:55 GMT

Bradford Kellogg (brad@buck.viewlogic.com) writes:

> As far as I know, Ives composed music right up to the end. Incidentally,
> if you haven't heard his "Fourth of July", by all means listen. It is quite
> remarkable, to put it mildly (It requires *two* conductors).

Some years back at Tanglewood I saw Ozawa conduct it solo - from memory, no 
less. It was a fine performance, as well.

    Marc San Soucie
    Portland, Oregon
    marcs@slc.com
Newsgroups: rec.music.classical
From: strong@tc.fluke.COM (Norm Strong)
Subject: Re: Gorecki's 3rd Symphony
Organization: John Fluke Mfg. Co., Inc., Everett, WA
Date: Mon, 11 Jan 1993 20:41:48 GMT

In article <1993Jan8.145406.11168@vax.oxford.ac.uk> atmrjga@vax.oxford.ac.uk writes:
}In article <C0CEsv.14w@news.cso.uiuc.edu>, erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:
}> Dale Atems writes
}>> I listened to the first movement of Gorecki's 3rd symphony today on
}>> headphones in the local record store.
}
}Sorry if this has been asked before, but can anyone tell me the correct
}pronunciation of this composer's name? Every time I hear it spoken it's
}pronounced in a different way!
}So far, I've heard of "Gorekki", "Goretchi", "Goretski" and "Goreski".

Probably Gorefski, but who cares.  Where is it written that we have to
pronounce his name as the Poles do?  

-- 

Norm Strong  (strong@tc.fluke.com)
2528 31st S.   Seattle WA 98144   USA
Newsgroups: rec.music.classical,rec.music.cd
From: rray@lookout.it.uswc.uswest.com (Randy J. Ray)
Subject: Tips on recordings, and on classical shops in Denver
Organization: US WEST Communications, Inc. -- Denver, CO
Date: Thu, 7 Jan 1993 20:36:58 GMT

Pardon me for combining two questions only loosely related in one post...

1) I am looking for the best available CD recordings of:

Holst, "The Planets"

Johan van der Meij, "The Lord of the Rings"

(was also looking for Pictures at an Exhibition, but that is a different
thread, and I put the question there)

Holst, "First Suite in Eb", for symphonic band. Different Holst than above, I
think. Not sure.

Ralph Vaughn Williams, "Folk Song Suite" and any other symphonic band works.

In general, I am interested primarily in symphonic band works, which I see
very little of on CD. How available is this genre?

2) I also need to know what the better places in and around Denver (Boulder
included) are, for shopping for classical CDs. Most of the places I've been
to so far have very pitiful selections.

Randy
-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Randy J. Ray -- U S WEST IT/CSD                 rray@lookout.it.uswc.uswest.com
                                                           Phone: (303)595-2852
"It's not denial. I'm just very selective about the reality I accept." --Calvin
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Newsgroups: rec.music.classical