HDTenEightyP/NetNews huggingface dataset:
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Dr. Faustus
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sat, 10 Oct 1992 16:48:36 GMT

In article <1992Oct10.143301.11384@news.acns.nwu.edu> ssc@nwu.edu (Steven Chung) writes:
>In article <1992Oct9.220333.16215@husc3.harvard.edu> vnguyen@husc8.harvard.edu writes:

># The allusion to music is rather incidental for the specter behind
># Adrian Leverkuhn is no-one but Friedrich Nietzsche.  

>"Noone but" seems a bit too strong--especially considering that there is a
>lot of Mann himself in Adrian (and Serenus too, for that matter).  The trip
>to Italy, for instance, is pretty autobiographical.
>I wonder if Hans Pfitzner had anything to do with Mann's views on music
>"selling its soul to the devil."

That would be the first time Mann wrote about a boring subject.  8-)
Seriously, I doubt he and Adorno would have cared much about Pfitzner,
and besides, Mann's comments on artists and writers who collaborated
with the Nazis were much in the news when he was writing the book; they
don't seem to have much in common with this.

Roger

Newsgroups: rec.music.classical
From: k2cheung@cantor.math.uwaterloo.ca (William Cheung)
Subject: manuscript files
Keywords: file
Organization: University of Waterloo
Date: Wed, 7 Oct 1992 15:51:36 GMT

  Is there any computer program on public domain which edits and stores scores?
Thanks.
william
From: barb@zurich.ai.mit.edu (Barb Miller)
Newsgroups: rec.music.classical
Subject: Re: Berlin Opera Houses
Date: 16 Oct 92 16:14:06 GMT
Reply-To: barb@zurich.ai.mit.edu
Organization: M.I.T. Artificial Intelligence Lab.
In-reply-to: gray@rz-berlin.mpg.de's message of 15 Oct 92 18:10:23 GMT

In article <1992Oct15.191023.7781@rz-berlin.mpg.de> gray@rz-berlin.mpg.de (Struan Gray) writes:

     Please don't think that I am trying to make a political point by
   mentioning the old east and west.  Some of the productions from both
   sides are dreadful (well, bad anyway) but the most stultifying *I*
   have sat through have been in the ex-east (just don't remind me of
   a Figaro from '74, still going in '92).

Just to balance that comment, I want to mention that I was entranced
by the one production I saw at the Staatsoper, this of Der Fliegende
Hollander a year ago.  It may have been the ambience of the beautiful
old opera house, perhaps a sense of unreality at being in the old East
Berlin at all, or just the fact that I had never before heard Wagner's
music played live in that size space by an orchestra capable of
generating that special unworldly sound, but I found the entire
evening magical, in spite of knowing no German, having no libretto,
and not having reviewed the plot beforehand (this was a spur of the
moment decision).

Barb Miller
Newsgroups: rec.music.classical
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: Re: Beatles and the canon
Organization: The Ohio State University
Date: Wed, 14 Oct 1992 23:30:24 GMT

"White Christmas"?  "Yesterday"?  Sorry, the number one top-selling single on 
the Hit Parade list is "Hey Jude".
-- 
=>   Michael J. Valinis   -=+{*}+=-   mvalinis@magnus.acs.ohio-state.edu   <=
+>=>             "The way to write American music is simple.             <=<+
=>+>=>       All you have to do is be an American and then write       <=<+<=
+>=>+>=>        any kind of music you wish."  -Virgil Thomson        <=<+<=<+
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Beatles and the canon
In-reply-to: cb@tamarack13.timbuk's message of 14 Oct 92 13:58:19 CDT
Organization: pubs
Date: 14 Oct 92 15:51:50 CDT

I wrote, a bit obscurely:

  Aber des Herrn Wort bleibet in Ewigkeit...same with Beethoven?

What I meant was, but we assume that certain music really is "classic"
in the sense of permanent.  "But the Lord's word endures in eternity" or
something like that (how's it done in King James?).

Chris Brewster
cb@cray.com
From: mb@smsc.sony.com (Michael Burg)
Newsgroups: rec.music.classical
Subject: English lyrics of 'The Seven Deadly Sins'
Keywords: Weill, lyrics
Date: 16 Oct 92 07:05:03 GMT
Article-I.D.: smsc.1992Oct16.070503.18417
Organization: Sony Microsystems Corp, San Jose, CA


I am attempting to find the lyrics  to Kurt Weill's opera
(musical?) to 'The Seven Deadly Sins' to give a gift to a friend for
Christmas.  The catch is, I wish a English translation. (German versions
abound for obvious reasons). And I have been completely unsuccessful
in finding such a beast.

Does anybody know if such a translation/version exist?

Thanks in advance,


-- Michael 

--------------------------------------------------------------------------------
Michael Burg @ Sony Microsystems, 651 River Oaks Parkway  San Jose CA 95134
E-Mail: mb@smsc.sony.com or ..!{uunet,mips}!sonyusa!mb
From: jfl@panix.com (Jeff Lipton)
Newsgroups: rec.music.classical
Subject: Glass' "The Voyage"
Date: 14 Oct 92 00:48:45 GMT
Organization: PANIX Public Access Unix & Internet, NYC


	I saw the premiere of Glass' "The Voyage" last night, and since
nobody has commented about it yet on this newsgroup, I thought I'd give
some random thoughts... First, the performers, especially the orchestra,
were outstanding. I've been impressed by the Met orchestra in Wagner, etc., 
so was not suprised by the forcefulness and color of their playing. There
were several outstanding performances among the singers, in particular the
women, with Patricia Schuman portraying a particular passionate commander,
and Tatiana Troyanos warm and commanding as Queen Isabella - especially during
her "dream" appearances in the ocean during Columbus' voyage. Douglas
Perry, as the scientist, was slightly underpowered-sounding at first, but
I suspect that the audibility of the words was not the primary goal of the
composer; this was corroborated by the discussion in "Opera News". 
	The sets were as spectacular as I was led to expect by articles
in the "Times" - in particular the ascent of the scientist in the 
wheelchair to the stars at the end of the prologue.
	The music... I confess I am not familiar with much of Glass' music,
and my impression was that it sounded somewhat generic in places where he
was not sparked by the events on stage or whatever... However, there were
some moments of inspiration and great energy - in particular the finale of
act I, the descent of the space commander to ice-age earth - a sort of
"Sacre du Printemps" redux. The soaring vocalises over the orchestra were
to me quite moving. The second act, however, seemed to rely a bit too
much on musical cliches familiar from other Glass music - at least that
was the act during which that was noticable to me.
	There was some booing at the end when the directors, designers,
composer and librettist came out on stage, but they were drowned out by
"bravo"s and applause... I'm glad I went, and thank goodness for VHS stereo-
I was able to catch the whole thing on tape while I was away at the opera.

 - Jeff

-- 
+----------------------------------------------------------------------------+
| Jeffrey F. Lipton, M.D. (jfl@panix.com) |   (212)-982-1219 (home)          |
| 353 E. 17th, #19-E  NY, NY 10003        | "Disobedience was Man's First    |
+------------------------------------------------ Virtue" (Oscar Wilde) -----+
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: Why switch to CD?
Date: Wed,  7 Oct 92 22:00:16 PDT
Organization: The Portal System (TM)

    In article <1992Oct5.084101.10082@bsu-ucs.uucp> the author 
solicits reasons for changing to CD.  I think you should keep in
mind that it is not an all-or-nothing proposition; coexistence is
quite feasible.  I started buying CD's about 6 or 7 years ago, I
guguess, and I only have about 450 or so at the present time, but I
am sure I will buy a lot more.  I don't buy any more lp's, one
reasons simply being that they are not available much any more, but
lso because CD's ar more durable and have better sound (that is my
opinion - I don't want to start a controversy about that here, as
I am sure there is still one raging somewhere in an audio group or
two).  But the point is that I have no intention of abandoning the
4000 or 5000 classical lp's that I have accumulated over the years.
In fact I just bought a back-up turntable (Thorens, because I think
Thorens will probably still be around for a good many more years),
mostly because turntables are getting fewer and fewer too, as the
era of the lp fades into oblivion.  I doubt that I will buy any more
lp's, but I plan to keep listening to the ones I have for years to come.

But back to your queston: The advantages, as I see them, of the CD
are:  (1) durability, (2) superb sound, (3) convenience - no fussing
with cartridges, stylus tracking and anti-skating adjustments, etc.,
and perhaps most important, (4) there are now a huge number of CD's
available, including a lot of reissued classic performances.  My collection
is essentially all classical music, but I am sure that it true for jazz
and other genres as well.  I guess I didn't touch on your other alternative,
i.e. cassette.  I have a few (maybe 100 or so) but I have never regarded
them as a serious medium for classical music, due to the generally poor
quality of pre-recorded cassettes on the market, so I really can't speak
to that issue.
                   Bill Pearce
Newsgroups: rec.music.classical
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Re: EMI price increase
Organization: University of Virginia
Date: Tue, 13 Oct 1992 12:18:17 GMT

In article <Bw11z3.Awz@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:

>
>Also: the lack of a big back catalog puts labels like Harmonia Mundi or
>Delos at a considerable disadvantage.  Each new recording has to earn
>its way.  I don't know how some of these labels keep going, and I praise
>them for managing to do so, and for doing interesting things.

Not to rekindle the ever-present Usenet debate on govt funding of the arts,
but alot of small labels like this survive because of such funding. In 
general it does not go directly to the label, but is part of a grant given
to the artist. Nonetheless, it is this money that keeps these small labels
(and small score publishers) going, and keeps them from having to charge
even higher prices than they already do.
From: Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 14 Oct 92 03:48:27 GMT
 <1992Oct13.132901.24677@magnus.acs.ohio-state.edu>  
 <1992Oct13.223739.12754@spang.Camosun.BC.CA>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

In article <1992Oct13.223739.12754@spang.Camosun.BC.CA>
dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:

> Glass is derivative of Terry Riley and Steve Reich,

Bravo!!! I couldn't agree more!!!!!
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Newsgroups: rec.music.classical
Subject: I know, Ill write La Traviata AGAIN!@!@!@ (was: Re: Glass...)
Date: 13 Oct 92 12:58:08 GMT
Organization: University of Virginia

In article <1992Oct13.075353.11199@dartvax.dartmouth.edu> Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:
>In article <98436@bu.edu>
>jaeger@buphy.bu.edu (Gregg Jaeger) writes:
>
>> With this sort of reaction to new composers
>It's sad that you confuse novelty for originality. Every period was
>accepted within 80 years but this modern and atonal music gets more
>detractors every day. Its a music of snobs and the musically well
>educated get back to basics get back to Verdi

its sad that you confuse Philip Glass with modern music. Schoenberg is
not, at least to my mind, having just read 10+ posts on Pierrot Lunaire,
gaining more and more detractors. And Stravinsky's Rite seems to have 
been pretty well accepted by now......

the snobs are the ones who say go back to Verdi. And while we're at it,
lets go back to Josquin--his music is good, why create anything new?
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: pierrot lunaire
Date: 12 Oct 92 20:59:19 GMT
Article-I.D.: Princeto.1992Oct12.205919.24270
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Oct12.184741.11373@netcom.com> rchrd@netcom.com (Richard Friedman) writes:
>ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:

>>I am looking for a version of Pierrot lunare, op 21, by Schoenberg.  I
>>already have the version by the Budapest Chamber Orchestra/ Erika
>>Sziklay, soprano.  There is much I like about this version, but think
>>the vocal solo could be more convincing.

>>Any suggestions?

>The best recording so far is on Koch/Shwann with the Schoenberg
>Ensemble from Amsterdam conducted by Reinbert de Leeuw (sorry if i
>spelled it wrong).  The voice is an actress who can sing.  She is

Well, then, why don't she?  8-)

>the female lead in the Sam Shepherd film of "Homo Faber" by Max Frisch,
>called in ENglish "Voyager".  AN excellent excellent film.  Barabar
>Sukova (I think I spelled it right, the CD is at home and I'm not)

>This is by far the very best recording! The voice is perfect.  The
>recording and the performance is staggering.  I have checking itwith
>the score, and I am amazed at how accurate the vocal line is.

Um, perhaps she's made two recordings of it, then, because I sure
don't recognize long chunks of the vocal line as she speaks/shouts
it on the disc.  Her speaking style is indeed theatrical, but of an 
entirely different tradition than the one Schoenberg's original
actress-singer came out of, and quite unrelated to the kinds of
inflections Schoenberg could possibly have in mind.  

>I have many of the other recordings, including the old one with
>Schoenberg hisself conducting (awful), and the Boulez.  This is
>really the best!.

There are two with Boulez.  Do you mean Minton or Pilarczyk?  They
are diametric opposites in vocal style...

The Schoenberg recording suffers from utterly dead acoustics (ten times
worse than Studio 8-H) and Wagner at less than her best.  But the *style* 
is there.  Sukowa tends to trample the music behind her.

Roger
>
>-- 
>/\=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=/\
>\/Richard Friedman (510)528-7055  |  rchrd@netcom.com    
>/\Applied Parallel Rsch (Berkeley)|                          /\
>\/=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=\/
>
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Opera in the vernacular
Organization: Camosun College, Victoria B.C, Canada
	<Bw487F.Kuo@usenet.ucs.indiana.edu>
	<1992Oct14.170008.10589@bsu-ucs.uucp> <CB.92Oct15101722@tamarack13.timbuk>
Date: Fri, 16 Oct 1992 02:53:10 GMT

In article <CB.92Oct15101722@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

[....]
   This brings up my anti-favorite musical treatment of words: "the bombs
   bursting in air" in the Star-Spangled Banner.  It would be easy enough
   to put "the" before the beat, unstressed, and give "bombs" a longer note
   on the beat, but we force the syllables into the predetermined musical
   line, with a resulting effect of "THUH-b'ms bursting in air".  Maybe we
   should trash it and use Bernstein's America, or maybe Springsteen's Born
							 ^^^^^^^^^^^^^^^^^^
   in the USA, at baseball games.
   ^^^^^^^^^^^

Can I take it you haven't listened to the words Chris?

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
From: benjamin@nebula.ssd.lmsc.lockheed.com
Subject: Re: Brahms 3rd Symphony (Repost)
Reply-To: benjamin@nebula.ssd.lmsc.lockheed.com
Organization: LMSC, Sunnyvale, California
Date: Tue, 13 Oct 92 20:11:42 GMT

In article <1992Oct13.020233.27468@dartvax.dartmouth.edu>, Joseph.J.Marcheso
.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:
>In article <Bw0320.Ex2@sci.kun.nl>
>gerritse@sci.kun.nl (Bart Gerritse) writes:
>
>of All these I prefer the Abbado with the tragic ouverture coupled with
>it. His interpretation is the most satisfying

So far no one has mentioned *my* favorite Brahms 3rd:  The old RCA LP with
James Levine and the Chicago Symphony.  In the 4th movement the brass just
blow me away.  ;-)

The Levine/Chicago Brahms Symphonies set seemed to get decent reviews when 
it came out in the early 80's, but I have yet to see it re-released on CD.
Any hints?

Brian
From: mgresham@artsnet.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Alternate Classical-Music FAQ Memo
Date: 16 Oct 92 03:49:01 GMT
Organization: ARTSNET,  Atlanta (Norcross) Georgia

marca@ncsa.uiuc.edu (Marc Andreessen) writes:

> In article <1992Oct13.164910.18433@newstand.syr.edu>
> jmwobus@mailbox.syr.EDU (John M. Wobus) writes:
> 
>     Actually, believe it or not, within these constraints, today's
>     composers put a lot of attention into making the music listenable
>     and to writing something which will get played.  The idea that the
>     average composer of contemporary music completely ignores his
>     audience is simply not true.
> 
> Not to sound like an uneducated boor (which, naturally, I am), can you
> name some of these composers?  I.e., those who write compositions that
> won't make me leap at my CD player, smash my fist down on the ``STOP
> DAMMIT STOP'' button, and hurl the disc into a blast furnace.

I certainly can:

Stephen Paulus
Dominick Argento
Ned Rorem
Knut Nystedt
Adolphus Hailstork
Carolyn Jennings
Randall Thompson (deceased)
John Rutter (but may for opposite reasons :-))
Kenneth Jennings
Jean Berger
Rene Clausen
Alice Parker
Allen Shearer
John Luther Adams
Franz Biebl (yes, still alive)
Pablo Casals
Jackson Berkey (yes, of Mannheim Steamroller fame)
Tom Benjamin
Carlisle Floyd
Conrad Susa
Stephen Chatman (Canadian)
...and a host of others, frankly.  There's plenty of "approachable"
music being written...and these composers do not all sound like
each other, by any means.

You can also add to that list people who happen to be on this very
net. 1) I happen to write a good bit of "approachable" music.
2) I can recommend Noam Elkies' "A Meditation on Mortality" as
a splendid piece.  3)  I happen to like what I've heard of
Bill Alves' work...and like it better than much of Philip Glass.
(Bill would be happy to sell you a tape.)

What bothers me is that people have no idea of just how *many*
composers are out there today, writing new music and arranging
older works.  There are some remarkably notable composers, many
competent to excellent, plus those who are hobbyists and those who
churn out pulp music for the conglomerate publishers.

But the fact is: THEY'RE OUT THERE.

One of theose who is remarkable, but a little less
"approachable" I'd think by the standards of the
person posing the question, is R. Murray Schafer,
a Canadian composer whose "A Garden of Bells" I heard
in live performance by the Vancouver Chamber Choir last
year.  That's one piece I would really love to conduct
some day.

--Mark Gresham

dscatl!mgresham@gatech.edu

=====
From: wells@cdsmn.mn.org (Rich Wells)
Subject: Re: melody in Rachmaninoff's 2nd Symphony
Organization: Dicomed, Inc
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 6 Oct 1992 18:40:13 GMT

Ross A Fletcher (srgcraf@grace.cri.nz) wrote:
: In article <1992Oct3.000904.20496@europa.asd.contel.com> ashley@oasis.gtefsd.com (Bob Ashley) writes:
: >Subject: Re: melody in Rachmaninoff's 2nd Symphony
: >From: ashley@oasis.gtefsd.com (Bob Ashley)
: >Date: Sat, 3 Oct 1992 00:09:04 GMT
: >In article 6073@morrow.stanford.edu, AH.PBL@forsythe.stanford.edu (Mark) writes:
: >>In article <BvGnLI.MrK@cdsmn.mn.org>,
: >>wells@cdsmn.mn.org (Rich Wells) writes:
: >>>The third movement of Rachmaninoff's Symphony #2 begins with a
: >>>melody that I know has been used by some pop/country tune.
: >>>
: >>  The title of the song is "All By Myself".  I don't know
: >>who wrote/sang it, though.  Eric something...?
: >
: >I believe it was Eric Carmen ... 
: 
: The original poster is correct.  The song that came out in the mid '70s and 
: was called "Never Gonna Fall in Love Again".  It was sung by an all-girl 
: group (something like the Supremes - but it wasn't them).  I recently heard 
: it as a jazz "original" on a Chet Baker album.  Don't remember the title but 
: it wasn't the one above.

Just to wrap this up, the Eric Carmen tune "All By Myself" is from
Rachmaninoff's Piano Concerto #2, not his Symphony #2, as a Mr.
Fernandez was kind enough to point to me via e-mail.  I'd still be
curious to know if anyone knows the name of the composer/singer/group
that wrote/recorded "Never Gonna Fall in Love Again", but let's not
waste any more net time; send it via e-mail if you know.

Thanks to everyone for their help with this.  As usual, a simple
question turned into a learning experience for me.
-- 

Richard Wells  wells@cdsmn.mn.org  or  ...!tcnet!cdsmn!wells
From: jaeger@buphyk.bu.edu (Gregg Jaeger)
Newsgroups: rec.music.classical
Subject: Re: Pianist info
Date: 7 Oct 92 18:52:48 GMT
Organization: Boston University Physics Department

In article <ld6a2nINNa9a@news.bbn.com> ryuen@BBN.COM (Ray Yuen) writes:

>Is the pianist Arturo Benediti Michaelangeli (sp?) still alive?  If so, where
>is he spending most of his time?

>Thanks,
>Ray Yuen

I believe he died some time within the last two years...

Gregg


-- 
-----------------------------------------------------------------------------
Gregg Jaeger    (jaeger@buphy.bu.edu)     | Tristero?   ______/|/|  Treestero?
Dept(s). of Physics (and Philosophy)      ------------    (_) \|\|  Trystero?
Boston University, 590 Commonwealth Ave.,Boston MA 02215 ---------------------
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Opera in the vernacular
Date: 16 Oct 92 14:51:32 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Oct16.025310.12477@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>In article <CB.92Oct15101722@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

>[....]
>   This brings up my anti-favorite musical treatment of words: "the bombs
>   bursting in air" in the Star-Spangled Banner.  It would be easy enough
>   to put "the" before the beat, unstressed, and give "bombs" a longer note
>   on the beat, but we force the syllables into the predetermined musical
>   line, with a resulting effect of "THUH-b'ms bursting in air".  Maybe we
>   should trash it and use Bernstein's America, or maybe Springsteen's Born
>							 ^^^^^^^^^^^^^^^^^^
>   in the USA, at baseball games.
>   ^^^^^^^^^^^

>Can I take it you haven't listened to the words Chris?

Can I take it that it's been a while since *you* listened to Bernstein's
_America_ (from West Side Story)?  8-)

It was a joke, son.

Roger
>Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.