HDTenEightyP/NetNews huggingface dataset:
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Minimalists/Andriessen
Keywords: minima moralia
Date: 21 Jul 92 21:34:42 GMT
Distribution: world
Organization: CS Division, UC Berkeley
NNTP-Posting-Host: cork.cs.berkeley.edu

In article <1992Jul21.203232.2407@nntpd.lkg.dec.com>, tsai@tecrus.enet.dec.com (Kuo-Yeang Tsai) writes:
|> 
|> Could someone be kind enough to give me a brief description of what 'minimalism'
|> is all about?

All these minimalisms involve a kind of restraint: using little material. 
Carver was a writer who favored simple language, plain people, undramatic
events etc.  (My comparison to Robert Ashley was based not on Ashley's
words so much as on the instrumental part of his pieces, which I have
always found deliberately undistinguished.)

Visual minimalism has tended toward simple objects -- Malevich's and
Rauschenberg's white paintings, Carl Andre's bricks, Richard Serra's slabs
of steel, Dan Flavin's fluorescent-light constructions, Jenny Holzer's
slogans, Yves Klein's artpranks.  (Not all of these people are called
"minimalists", but there's a common thread.)  In the visual arts as in
music, there are people who have learned from "minimalism" and gone on
(Martin Puryear, John Adams) and people who have found varieties of
minimality which are curiously their own (Isamu Noguchi, George Crumb).

Excuse me if I babble, but it's fun finding connections.

|> What's the history background that made it happen?
|> What's its philosophy?

Check Edward Strickland's recent book of interviews (American composers:
dialogues on contemporary music; Bloomington, 1991) for conversations with
Glass, Reich, Adams, Monk, and most importantly La Monte Young.  The
originating moment seems to have been the late 50's on the West Coast,
though as I have said here before, Scelsi went through some interestingly
analogous changes about the same time, in Italy.  The influence of the
"East" (in some of its many Western incarnations) was part of the
background.

|> And which piece of music is most representative of minimalist works and
|> well-known/popular?

I'd recommend Steve Reich's "Music for 18 Instruments" and John Adams'
"Common Tones in Simple Time", for starters.

	Vance
From: jrt@hawk.dsto.gov.au (J.R.Terry-AEG)
Newsgroups: rec.music.classical
Subject: Re: Barber's String Quartets
Date: 29 Jul 92 15:51:22 GMT
 <1992Jul20.182257.8109@oakhill.sps.mot.com> <1992Jul20.232501.8960@magnus.acs.ohio-state.edu>

Sorry, but I couldn't resist.

Not to be confused with Barber's Shop Quartets!! :-)


-- 
John R Terry					    jrt@aeg.dsto.gov.au
Head, Avionic Computer Systems,			    Ph:  +61 8 259 6982
Aircraft Systems Division, DSTO Salisbury, S.Aust.  Fax: +61 8 259 5507
Newsgroups: rec.music.classical
From: spg@Xenon.Stanford.EDU (Stephen P. Guthrie)
Subject: Re: What if...
Organization: Computer Science Department, Stanford University.
Distribution: rec
Date: Fri, 24 Jul 1992 21:44:02 GMT

In article <1992Jul24.212756.2172@titan.tsd.arlut.utexas.edu> colby@tsd.arlut.utexas.edu (Colby Leider) writes:
>What if...
>...J.S. Bach were alive today?

He'd be very old.
And he'd probably be the father of about 6,498 children.
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Liverpool Oratorio - McCartney & Davis
Date: 21 Jul 92 19:29:02 GMT
Article-I.D.: tamarack.CB.92Jul21142859
	<1992Jul18.041538.3416@Princeton.EDU>
	<2A6853D0.14411@noiro.acs.uci.edu>
Organization: pubs
In-reply-to: jdooley@maemaster.eng.uci.edu's message of 18 Jul 92 17:24:32 GMT

John R. Dooley writes:

   It's impossible to compare Beatle albums released before Sgt Pepper
   to the later albums by listening to the '60s American releases.
   They're mishmashes of newer and older material.  Beatles '65 and VI
   are the worst because they include a lot of the worst material
   released between '62 and '64 as well as newer music.

   Beatles for Sale (in any case) is my least favorite, probably because
   most of the songs are not Lennon/McCartney.  But, the
   Lennon/McCartney songs are all quite good.

I'm confused about the equivalences myself.  I equated Beatles 65 with
Beatles For Sale, but this might be wrong.  I think the period I mean
might be more accurately defined as Hard Day's Night to Revolver.  This
discussion falls, even quicker than discussions on classical topics,
into purely personal reactions.  The only thing I'd like to add,
concerning both taste and editions, is that the English editions (now
the standard for CDs, fortunately) make MUCH more sense than the
American editions.  I'm just getting to know the *real* Help album, and
it possibly makes my point the best.  I don't get a sense, implied by
Roger, of "let's do a song in style X because it's sure to sell".  The
songs strike me as just strong, individual, and well-crafted.  I can't
say a whole lot more, because I simply don't like most of the songs
Roger cites as positive examples.  This is my current reaction, changed
many times over the years, and it might eventually get revised back in
favor of the Sgt P/White period.

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Mozart, c'est qui? [Re: minimalism]
Organization: Morgan Stanley & Co., New York, NY
Date: Wed, 22 Jul 1992 17:56:34 GMT

In article <14k3n6INNaul@agate.berkeley.edu> maverick@cs.berkeley.edu (Vance Maverick) writes:
>In article <1992Jul22.022007.26318@slc.com>, marcs@slc.com (Marc San Soucie) writes:
>|> 
>|> Dare I suggest that Glass is the Mozart/Haydn/Vivaldi of our time? Cranking 
>|> out endless variations in a single style with little significant change?
>
>In article <1992Jul22.040947.11617@fid.morgan.com>, steve@fid.morgan.com (Steve Apter) writes:
>|> 
>|> The music?  Keep it simple, stark, and ugly.  Wolpe, for example.  Or Mozart.
>
>Who next?  Frank Zappa?  Fiddlin' John Carson?  Richard Feynman?

Zappa-Carson-Feynman?  Is this one of those Zeitgeisty cross-disciplinary
From: slagle@lmsc.lockheed.com (Mark Slagle)
Newsgroups: rec.music.classical
Subject: Re: Grounds for criticism (was: Liverpool Oratorio)
Date: 30 Jul 92 04:04:12 GMT
	<1992Jul28.185351.28292@bas-a.bcc.ac.uk>
Reply-To: slagle@lmsc.lockheed.com
Organization: You wouldn't ask this if you'd seen my desk.
In-reply-to: ucap22w@ucl.ac.uk's message of 28 Jul 92 18:53:51 GMT

In article <1992Jul28.185351.28292@bas-a.bcc.ac.uk>, ucap22w@ucl.ac.uk (Martin S T Watts) writes:

> Well, that may be partially true, but then only with the proviso that
> your view of what constitutes 'knowledge' of these things has nothing to
> do with the English (or any other spoken) language. But I'm not at all
> convinced that it wouldn't be possible to derive all of the salient messages
> in Brahms' 1st Symphony from exposure to this work alone. It isn't
> particularly formally complex, his orchestration is totally different from
> Beethoven's, and my reactions to its harmonic progressions are very similar
> to reactions to similar progressions in pre-classical music. 

This is interesting, even ironic.  You say that Brahms's first
can be understood in all of its "salient messages" on first
exposure.  But then you cite as reasons for this a list of
comparisons with prior works or general practice.  All the things
that you claim are irrelevant, you adduce as reasons why you
think the piece is accessible without them!  You make the
comparisons while claiming that they are unnecessary.  It would
seem that your own musical context is important to your
understanding of this work, whether or not you choose to speak
of it in your critical appraisal.  But in what other way can
you criticize it?
--
----
Mark E. Slagle                                 PO Box 61059
slagle@lmsc.lockheed.com                       Sunnyvale, CA   94088
408-756-0895                                   USA
Newsgroups: rec.music.classical
From: phaf@giraffe.ru.ac.za (MR A FERREIRA)
Subject: Test your music knowledge, I looking for this piece.
Summary: Looking for a piece of music
Keywords: Dante
Organization: Rhodes University, Grahamstown, South Africa
Date: Thu, 23 Jul 1992 07:41:21 GMT

Greetings all

I recently saw a movie by the name of "The double life of Veronique". It was 
a french film with english subtitles and it had a piece of classical music 
that formed a theme thoughout the film. I am looking for the name and 
composer of this piece. All I managed to get as the titles sped past (in 
french which I don't read) was "Dante - Heme chant".
I would much appreciate any info on this rather beautiful piece of music.

Thanks
Andre
-- 
                           Andre Ferreira
        Internet: PHAF@Hippo.ru.ac.za or PHAF@giraffe.ru.ac.za       
     Department of Physics and Electronics_____Rhodes University   
                    Grahamstown____South Africa  
             " Physicists do it with freq until it Hz "
Newsgroups: rec.music.classical
From: spg@Xenon.Stanford.EDU (Stephen P. Guthrie)
Subject: Re: Borodin (was: Dvorak)
Keywords: Dvorak
Organization: Computer Science Department, Stanford University.
Date: Fri, 24 Jul 1992 21:52:10 GMT

In article <1992Jul24.211443.2475@osf.org> dbrooks@osf.org (David Brooks) writes:
>lionel@cs.city.ac.uk (Lionel Tun) writes:
>|> 
>|> I cannot decide between the Cleveland Quartet on Telarc (coupled with
>|> Smetana Qt 1) and the Brodsky Quartet on Teldec.
>
>I was going to stay out of this, 'cos I only have a disrecommendation, but
>I *detest* the Cleveland recording.  I even tried to get my money back, and
>ended up giving the thing away (which is, I suppose, rather a dubious form
>of charity).
>

What about a recommendation for Smatana's quartets (both of them). I can't
find many recordings of both on a single cd, although the Medici (?) quartet
have a recording on NimBus. 
This gets only 1 1/2 stars in the Penguin guide. Would people agree that
Medici's playing is not too good, oor would this be a reasonable choice?



Newsgroups: rec.music.classical
From: t8800568@phillip.edu.au
Newsgroups: rec.music.classical
Subject: Thanks for the help!
Date: 27 Jul 92 18:18:55 GMT
Organization: RMIT (Bundoora Campus)

Many thanks to all those kind souls who provided me with Holst
recommendations.

Your all beautiful people :)
-- 
######################################################################### 
#   NAME: Timothy O'Connor.       #  QUOTE: Roses have thorns, shining  #   
#   toc@arcadia.mc.phillip.edu.au.#  waters mud, and cancer lurks deep  #
#   T8800568@phillip.edu.au       #  in the sweetest bud.               # 
#########################################################################
Newsgroups: rec.music.classical
From: slagle@lmsc.lockheed.com (Mark Slagle)
Subject: Re: Mozart REQUIEM
Reply-To: slagle@lmsc.lockheed.com
In-reply-to: vlad@netcom.com's message of Thu, 23 Jul 92 07:27:07 GMT
Organization: You wouldn't ask this if you'd seen my desk.
	<JIM.92Jul22132804@fuji.eng.yale.edu>
	<1992Jul22.191536.24765@tc.cornell.edu> <8hgm63c.vlad@netcom.com>
Date: Thu, 23 Jul 92 21:12:47 GMT

In article <8hgm63c.vlad@netcom.com>, vlad@netcom.com (Vladimir Kuznetsov) writes:

> Try Hogwood's recording with Emma Kirkby. You will be impressed.

I like their collaboration on the "Exultate Jubilate".
--
----
Mark E. Slagle                                 PO Box 61059
slagle@lmsc.lockheed.com                       Sunnyvale, CA   94088
408-756-0895                                   USA
Newsgroups: rec.music.classical
From: carnes@sparky.eecs.umich.edu (Richard Carnes)
Subject: Re: Beethoven 4-hands works (was Re: Beethoven Opus & Woo)
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Fri, 24 Jul 1992 14:23:42 GMT

jjt@spchsys.UUCP (John J. Turley) writes:

>>John Turley recommended one of Beethoven's Opus-less works:
>>the theme and variations for piano four hands, WoO 67.
>>If that's the set I recall (the one that isn't based on
>>a Goethe song setting), I'll add to that recommendation.
>>The final variation has some astonishing voicings, even
>>by Beethoven's standards, though those passages might fit
>>into Petrushka just fine.
>
>To my knowledge, the theme was based on something by Archduke Rudolph.
>It was published around 1792, I think.

You're warm: the variations are on a theme by Count Ferdinand Ernst
von Waldstein, one of Beethoven's patrons in Bonn, and the dedicatee
of the Sonata op. 53.  LvB's friend Wegeler, also from Bonn, wrote in
his reminiscences of the composer that Waldstein was the first to
fully appreciate Beethoven's genius.

The probable date of the variations' composition is 1792, Beethoven's
last year in Bonn (op. 1 dates from 1794).  In 1792 Archduke Rudolph
(of Austria, brother of Emperor Franz) would have been 3 or 4 years
old.  Rudolph became an excellent pianist and one of Beethoven's best
friends and patrons: LvB dedicated far more compositions to the
Archduke than to anyone else, including the eponymous Trio.  The
"Lebewohl" Sonata, op. 81a (Beethoven objected to a publisher's title
"Les Adieux") was inspired by Rudolph's departure and return to Vienna
in 1809-10.

Speaking of variations, if I've counted correctly Beethoven wrote at
least 55 independent sets, not counting those forming a part of larger
works.  Of these, 23 have opus numbers (e.g., the "Prometheus"
Variations, op. 35, often miscalled the "Eroica" Variations), and of
these, 16 are in opp. 105 and 107 for piano and optional flute or
violin.  These are entitled "National Airs with Variations"; the
"national airs" include such favorites as "The Last Rose of Summer",
"Paddy Whack", and "Bonny Laddie, Highland Laddie".  These pieces do
not bear comparison with op. 106, but they are not hackwork, either.

Op. 76 is a set of variations on the rousing theme that was later used
for the Turkish March in _The Ruins of Athens_.

Richard Carnes
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: organist/choirmaster openings?
Date: 23 Jul 92 22:45:16 GMT
Organization: Digital Systems Co., Atlanta GA

Since there is no "rec.music.classical.jobs" newsgroup,
I'm posting this for a friend.

This person is currently employed at a university (so I can't
post the name) but is wanting to move to a different part
of the U.S. from the region in which currently located.
An organist/choirmaster position in a church is sought,
most recent experience being in a "liturgical" church.
This individual has extensive technique as an organist,
pianist and harpsichordist, and is a composer.

Any good leads regarding openings appreciated.
You can e-mail them to me.

(Then all of you can vie for the professorship left vacant. :-) )


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Ein Deutsches Requiem (was Re: Christa Ludwig)
In-reply-to: ian@billie.research.canon.oz.au's message of Mon, 20 Jul 1992 00:47:48 GMT
Organization: pubs
	<1992Jul20.004748.15515@research.canon.oz.au>
Date: 22 Jul 92 16:22:58 CDT

Ian Daniel writes:

   ...what is Klemperer's Deutsches Requiem like? ...

   I have the Karajan, Vienna Philharmonic & Chorus, but I'm not
   entirely satisfied with it. ...

I consider Klemperer's version *the* one to get.  AThough I often like a
conductor's tendency to go the opposite direction as the composer's
(such as a flamboyant conductor for dry-textured music), the virtue here
is the total compatibility between conductor and work--serious,
profound, Germanic in the best sense.  The high point, by comparison
with other versions, is Klemperer's featuring of a horn line in the
second movement, to an effect that inspires awe (bordering on fear!).
I've never heard another conductor bring it out, but the score justifies
this practice with accent marks on that line.  Fischer-Dieskau does an
excellent job.  My only reservation concerns Schwartzkopf, who is maybe
too mannered.  Karajan's version, as is so often true with him, strikes
me as a simulated kind of thing--calculated like the manner of a funeral
director.

Chris Brewster
cb@cray.com
From: ewing@npg-sd.SanDiegoCA.NCR.COM (David Ewing)
Newsgroups: rec.music.classical
Subject: Most annyoying use of "Carmina Burana" yet
Date: 28 Jul 92 21:14:56 GMT
Organization: NCR Corp., Network Products - San Diego

Okay, we're all tired of hearing "Carmina Burana" in films, but
get a load of this.  The local NBC news affiliate here in San Diego
has just started airing a promo for their nightly news using this
piece (as background for lots of shots of their ever vigilant news
team looking very serious as they uncover the news).  This is being
aired every 20 minutes or so during the Olympics. Aaarrrgggghhh!!! 

-- 
*************************************************************************
David A. Ewing                             David.Ewing@SanDiegoCA.NCR.COM
From: Brian_Nation@mindlink.bc.ca (Brian Nation)
Newsgroups: rec.music.classical
Subject: Re: Good version of 'The planets' by Holst?
Date: 23 Jul 92 07:16:46 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

Dutoit and the Montreal Symphony's version of THE PLANETS has been recommended
by several netters as the "best" version. It may be of interest that Dutoit,
in a recent Canadian (CBC) radio interview, when asked what his favorite own
recording is, unhesitatingly cited THE PLANETS.
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Recommendation for Requiem music is needed.
Date: 21 Jul 92 09:44:11 GMT
Organization: Oxford University VAXcluster

In article <1992Jul20.023553.28412@Princeton.EDU>, roger@phoenix.Princeton.EDU (Roger Lustig) writes:
>>By the way, is there any composer who wrote more than one Requiem?
> 
> Very few, I'd guess.  Only Cherubini comes to mind.  Good
> question...perhaps Grove's knows.
> 
> Roger

I think that Duarte Lobo (Portuguese 16th century-ish) wrote at least two: one
in eight parts which I've just recorded and one in six parts. I'm probably
wrong, though.

BTW, you didn't mention Howells' requiem, which is a little gem. Including that
reminds me that Howells also wrote Hymnus Paradisi, which is as near to a 
Requiem as his Requiem is (if you see what I mean.)
-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Met's Semiramide
Organization: University of Delaware
Date: Tue, 28 Jul 1992 16:00:08 GMT

In article <1992Jul28.005123.14241@husc3.harvard.edu> vnguyen@husc8.UUCP (Vinh Nguyen) writes:

>From article <92209.163048KSSHC@CUNYVM.BITNET>, 
>	by Ken Sherrill <KSSHC@CUNYVM.BITNET>:

>> ances. After all these years, I was beginning to think that Ramey and Joseph
>> Rouleau were the only two bassos who knew the part. Apparently Jan-Hendrik Root
>> ering will be on the recording with Cheryl Studer. I expect Studer will be the
>> great Semiramide of our time, but I doubt that she'll be doing the part in New
>> York this year.

>Now if indeed she could deliver on Semiramide then I'll be a convert.

Why shouldn't she deliver?  She's been doing the role with success in
Europe.

>Gee, does she (or do the record companies want to make her) want to
>outdo La Stupenda in so short a time.  

Apt comparison.  I find the voices of Sutherland and Studer similar in
their technical capabilities.  Studer's perhaps isn't quite as firm and
big, but on the other hand she has the more energetic rhythmic sense.

>How many recording projects
>are lined up for Studer so far?  

Lucia is due out this fall (with Domingo and Ramey).  I must confess
that I was disappointed by her Philadelphia Lucia; it sounded as if she
had been listening to hack "Italian stylistic" coaches and messing
around with the solid vocal placement that serves her so well in German
music.  I'm convinced she has a better Lucia in her, and hope she
delivers it on records.  She's also scheduled for recordings of Flying
Dutchman, Meistersinger, Aida, a second Verdi Requiem, Lohengrin
(grrr...I wanted Nadine Secunde to get that one), and more.  I thought
she might do the next recording of Lulu (she's got exactly the voice it
calls for, which few do), but Patricia Wise is appearing on Jeffrey
Tate's recording that will appear in a few months.

>Well, so Mr. Conrad will have to pardon
>my calling her "La Studer" now!  [:-)]  

Only if you can do it without the implied sneer!

>(By the way, welcome back
>from your two-week vacation!)

Thanks!

Jon Alan Conrad
From: knudsen@hpl-opus.hpl.hp.com (Knud Knudsen)
Newsgroups: rec.music.classical
Subject: Re: 20th c. "teaching pieces" for piano
Date: 28 Jul 92 18:27:15 GMT
Article-I.D.: hpl-opus.64940129
Organization: HP Labs, High Speed Electronics Dept., Palo Alto, CA


You might like to play some of the piano pieces by the Norwegian
composer Harald Saeverud. Some of these are called "Slaatter og
Stev fra Siljustoel" another nice piece something with "amoroso".
                                       Knud Knudsen
Newsgroups: rec.music.classical
From: will@ogre.cica.indiana.edu (William Sadler)
Subject: Re: P.D.Q. Bach inquiry
Organization: Indiana University
Date: Wed, 29 Jul 1992 14:51:40 GMT

In <55302@mentor.cc.purdue.edu> dmnhieu@euclid (Duy-Minh NHIEU) writes:

>If anyone of you who has the lyric to the following pieces (of PDQ Bach)
>or if you know where to find a printed copy, can you send me information?

>   Oedepus Tex & Other Choral calamities
>       Oedipus Tex (all pieces)
>       Knock Knock

I have the lyrics to Oedipus Tex and the knock knock cantata at home--
including one that didn't make it to the album because of a copyright
problem. It might be easier if you can point out the parts you don't
understand since the lyrics are in the music and it would take me
a long time to write them all down or copy the scores. 

Most if it is pretty understandable:

Howdy there, I'm Oedipus Tex.  You may have heard of my brother Rex.
I'm Oedipus Tex, that's what I said.  But my friends..... just call
me Ed.

and:

Tragedy
(what a)
Tragedy

:-)
Will
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************