HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.classical
Subject: Re: Don Giovanni
From: Spencer Means <HSMBB@CUNYVM.BITNET>
Date: Friday, 22 Jan 1993 16:45:50 EST
 <1993Jan20.012158.26908@Princeton.EDU><C187op.Kvn@news.udel.edu>
Organization: City University of New York/ University Computer Center

In article <C187op.Kvn@news.udel.edu>, conrad@brahms.udel.edu (Jon Conrad) says:
>
>>In article <1993Jan19.222258.1273@osf.org> coren@speed.osf.org (Robert Coren)
>writes:
>
>>>What's (deliberately) funny about Donna Anna? You're not allowed to
>>>include what <insert non-favorite soprano here> sounds like in "Non mi
>>>dir".
>
>Actually, there is something, if we go by 18th-century attitudes that I
>hope have been left behind:
>
>It's reported that the first audiences at Don Giovanni found Donna
>Anna's narration of the stranger's (Don G, whom she thought at first was
>Don O) hilarious, because depending on how one interprets the adverb
>in "*afterwards* I realized it was not you," they figured that the
>stranger "had his way with her" before she figured it out.  Yuck yuck,
>eh?  :-(
>
>Jon Alan Conrad

I don't know the source of this report, but is there any assurance that
Mozart did not intend the "yuck."  Also this is low humor, but I don't
see exactly what is dated about it.  I have frankly always found an element
of humor in Anna's single-minded obsession with revenge, especially in
relation to her "sposo" who barely seems to exist for her.  I'm always
amused when in the epilogue she tells him he's going to have to wait while
she mourns another year.  I get the feeling she'll keep finding excuses.

Spencer Means  hsmbb@cunyvm.bitnet
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: Want comments on Shaw's Mahler Symphony #8
Date: 22 Jan 93 10:56:33 GMT
Organization: St. Andrews University, Scotland.

In article <1993Jan21.154921.20175@news.acns.nwu.edu> mkahn@merle.acns.nwu.edu (Michael Kahn) writes:
>
>
>In article <1993Jan21.061425.25782@organpipe.uug.arizona.edu> tom@astro.as.arizona.edu (Thomas J. Trebisky) writes:
>>Mahler Symphony #8 -- Atlanta Symphony Orch. Shaw -- on Telarc label.
>>	This one tempts me, but I haven't purchased it ... yet.
>>	Should I?
>>
>I've read several glowing reviews of this recording but haven't gotten the
>gumption to go out and get it for whatever reason.
>
I haven't heard it myself, but I did read some pretty bad reviews!
gav ramsay
Newsgroups: rec.music.classical
From: jeq@i88.isc.com (Jonathan E. Quist)
Subject: Re: P.D.Q. Bach (Was Re: Vocal contributions from the orchestra (Was Re: ..... Bolero))
Organization: Lachman Technology, Incorporated, Naperville, IL
Date: Wed, 27 Jan 1993 16:38:07 GMT

In article <3940073@hpcc01.corp.hp.com> zornow@hpcc01.corp.hp.com (Claudia Zornow) writes:
>My problem with Schickele's music (written as himself) is not
>its quality but its price.  I bought his "Little Suite for
>Winter" (a duet for clarinet and tuba) and found it pleasant
>and engaging.  However, it cost $18.00, so I won't be buying
>much more by him any time soon.  The publisher was Theodore
>Presser; perhaps the problem lies there and not with Schickele
>himself?
>
>Claudia

I've found most 20th century music to be relatively expensive, particularly
that by living composers.  Maybe when they're still alive they
complain more about royalties and such...

-- 
Jonathan E. Quist                              Lachman Technology, Incorporated
jeq@i88.isc.com  '71 CL450-K4 "Gleep", DoD #094        Naperville, IL
 __       There's nothing quite like the pitter-patter of little feet,
 \/                   followed by the words "Daddy!  Yay!"
Newsgroups: rec.music.classical
From: dadams@cray.com (David Adams)
Subject: Should I join BMG?  
Reply-To: dadams@cray.com
Organization: Cray Research, Inc.
Date: 25 Jan 93 14:03:39 CST


I've been thinking this one over.  Is the music selection offered anything to
write home about?  Is it worth the hassle?  Is it worth the stamp you have to
spend every month to send the dumb card back to tell them not to send anything
this month?   

---
--David C. Adams  Statistician  Cray Research Inc.  dadams@cray.com
___________________________________________________________________
       Old Sourdoughs never die.  They just ferment away.
From: kfl@access.digex.com (Keith F. Lynch)
Newsgroups: rec.music.classical
Subject: Mozart's birthday
Date: 27 Jan 1993 14:28:37 -0500
Organization: Express Access Public Access UNIX, Greenbelt, Maryland USA
Distribution: world
NNTP-Posting-Host: access.digex.com

According to Marcia Davenport's biography of Mozart, he was born at 8 pm
on Sunday, January 27, 1756 (237 years ago today).  However, I notice
that January 27, 1756 would have been a Tuesday.

I'm quite sure that the Gregorian calendar was in effect when and where
he was born, but just in case, I figured it out for Julian as well.
Then it would have been a Saturday.

So, did the biographer just screw up?  If so, is it the day or the date
that's wrong?  Thanks.

Keith Lynch, kfl@access.digex.com
Newsgroups: rec.music.classical
From: tomm@cup.hp.com (Tom McNeal)
Subject: Re: Who does Tchaikovsky well?
Date: Tue, 26 Jan 1993 19:08:25 GMT
Organization: Hewlett-Packard
X-Newsreader: TIN [version 1.1.4 PL6]

: 	Years ago (1975??), I was in Chicago downtown, wandering by
: 	Symphony hall, I found that a performance was soon to begin,
: 	and some tickets had been returned for resale by people who
: 	had previously purchased them but could not make it.  To make
: 	a long story short, I got a ticket for a bargain price and
: 	found myself with a very good seat -- and the CSO did
: 	Tchaikovsky's 6th symphony.  It was a potent performance,
: 	I have never heard it like this before or since.  Wish I
: 	could remember who the conductor was.

Solti had taken over Chicago by then.  It wasn't him?

-------------------------------------------------------------------
tomm@hpindada.cup.hp.com
Tom McNeal at Hewlett-Packard's Information Networks Division 
19410 Homestead Rd., M.S. 43LN, Cupertino, CA  95014  (408)447-2300
-------------------------------------------------------------------
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Don Giovanni
Organization: Camex Inc., Boston MA
Date: Wed, 20 Jan 1993 22:29:22 EST

In article <1993Jan19.025649.5036@Princeton.EDU> roger@astro.princeton.edu
(Roger Lustig) writes:

>(is what kills Don G the 
>fact that he doesn't get *any* during the entire two acts?)

I'm glad you brought this up.  I've never been able to decide just how
"prow" the Don's prowess actually was.  What *did* happen there with Donna
Anna at the beginning?  Did he *really* get it on with Elvira's maid after
all?  I've not found anything that makes the answer definite one way or the
other, and I don't mind it that way.  But do others see it differently?

>Everyone in the Mozart version has at least a small comic function, except
>the Commendatore; even Elvira is less sure of herself than she thinks.

I think Elvira really only succeeds when played with the right comic touch.
She can be overdone to the point of being merely an annoying nagging whiney
dope, or she can be played as the improbable but lovable turner of events.
You know, the "Where'd *SHE* come from?" thing.  I heard Ashley Putnam a
couple years ago at the Met, and she played it perfectly.  We were always
ready to laugh a bit when she intruded again, but we never lost our
compassion for the tragic side of her story.

I guess the most wonderful thing about Don Giovanni is its ambiguity.  Or
do I mean duality?

Chris Ischay
chrisi@camex.com
Newsgroups: rec.music.classical
From: a4369@mindlink.bc.ca (Mike Quigley#2)
Subject: Trouble with Syracuse Symphony
Organization: MIND LINK! - British Columbia, Canada
Date: Mon, 25 Jan 1993 06:07:40 GMT

In the local paper the other day, there was a brief article about the
Syracuse Symphony, how they had just appointed a guy named Fabio Mechetti as
music director, replacing Kazuyoshi Akiyama. It went on to say that
"Akiyama's salary, reported to be $140,000 US a season, was criticized last
year when the 31-year-old orchestra was forced to suspend its performances
for seven months after running out of cash and falling $1.2 million in debt."

Does anyone have any more details about this?
From: Simon.N.McRae@dartmouth.edu (Simon N McRae)
Newsgroups: rec.music.classical
Subject: How do you react to a wonderful new piece?
Date: 22 Jan 93 00:07:53 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0b3@newshost.dartmouth.edu

In article <1993Jan18.095025.62266@qut.edu.au>
bellmann@qut.edu.au writes:

> I would like to know whether I'm a sort of freak or if this is something that
> happens to other people with similar or different characteristics. Supposing
> it does, I'd like to know how often you are not disappointed when you finally
> confront the piece under normal circumstances. And of course any opinion about
> the resemblance or not to a sudden crush.

Sadly, I cannot say this happens to me often.  The only piece recently
I've been enthralled with on first listen is Janacek's "Po Zarostlem
Chodnichku" ("Along the Overgrown Path," I think).  I remember feeling
afloat on sound at several points, notably during the shepherd's tune
of the "Madonna at Frydek" vignette.  I quickly bought the CD, which
also includes the Sonata X.1905.  I am not disappointed.

More often than not, however, pieces nonpluss me the first time
around--I'm a slow learner when it comes to classical music.  It
usually takes two or three listens to get to know what's going on, to
allow the music to reveal its mysteries to me, in order that I might
start to value it.  An example from a few years ago:  it was not until
I noticed, in Mozart's G minor Symphony (#40), that the chromatic bass
counterpoint to the main theme in measure two of the second movement is
repeated by the violins several bars later, after the bass has taken
over the theme, only much more expansively, that I began to hear that
work for all it was worth.  

I like knowing how all the pieces fit together.  If I don't, that
hinders the music's ability to resonate at still deeper levels.  Of
course, some works have nothing more to offer than their construction. 
Luckily, these aren't many that I've decided to purchase.   

The whole process is incredibly condensed for pop music.  I usually
comprehend the structure and feel whatever resonance might be felt on
the first listen.  Not surprising, then, that I like quite a few songs
when they first come out, but quickly grow weary of them.

Simon.
    
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: I need CD recommendations of Bach's Sonatas and Partitas Vln Solo
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sun, 24 Jan 1993 17:59:36 GMT

In article <1993Jan22.221454.6535@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>inr@eccles.caltech.edu (I. Neill Reid) writes:
>: >From: xilin@northstar.dartmouth.edu ()
>: 
>:  Yes, I like Heifetz - he _was_ undoubtedly one of the best technicians
>: ever to play the violin (maybe even the best ever to record - there's 
>: the famous story of a violinist and pianist attending one of Heifetz'
>: early concerts in the US. Some way into the concert, the violinist starts
>: to shift on his seat, pull at his collar and eventually mutters
>:  `Getting hot in here'
>:  to which the pianist replied, `Only for violinists').

>It was Heifetz's debut in New York (Carnegie Hall?). News of his
>European triumphs had crossed the Atlantic so everybody who was
>everybody in the musical world was there. The pianist in question was
>the great Leopold Godowsky, I have a feeling the violinist was Carl
>Flesch, but I'll have to check this with my reference books. The
>alternative version has Gododowsky's reply as 'not for pianists'.

I believe the sweating violinist was Mischa Elman.  Henri Temianka
tells the story in his _Facing the Music_, one of the funniest 
memoirs I ever read.  The dialogue:

"Isn't it hot in here?"
"Not for pianists..."

OF course, it might have been Menuhin's debut, too... the key is
what they said, not whom about...

Roger
>
>
>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Brumel review
Date: 23 Jan 93 16:48:16 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <22JAN199300301423@eccles.caltech.edu> inr@eccles.caltech.edu (I. Neill Reid) writes:
>>From: mccomt@aix.rpi.edu (Todd Michel McComb)
>
> (concerning the division of parts)

While is sounds like the argument is about classification of parts
would you both concede the possibilty that the composer was
explicitly writing for the particular group singers he had
at his disposal, regardless of the classifications, et al.?
  Therefore, if you must classify the voices, wouldn't it be
most practical, even in modern performance practice, to examine
the ranges and tessituras and select singers accordingly?  Assuming
that a modern ensemble also has a practical limitation on their own
resources, they'd have to make certain compromises in this regard
or simply not program the piece.  Simply stated: we do those kinds
of things all the time as conductors and vocal ensembles.  I would
not doubt that Brumel did too.

> Neill Reid - inr@eccles.caltech.edu
>
>>T. M. McComb

Cheers,

--Mark Gresham
=====
dscatl!mgresham@gatech.edu
=====
From: chrisr@hpcvra.cv.hp.com (Chris Robson)
Date: Fri, 22 Jan 1993 01:36:51 GMT
Subject: Re: Uses of technology was Re: The Roman "Tosca"
Organization: Hewlett-Packard Co., Corvallis, OR, USA
Newsgroups: rec.music.classical

| 
| This is a fun idea to fiddle around with -- what composers might have
| welcomed technological innovations that the tradition-bound part of us
| might find hard to accept?
| 
| 
| Chris Ischay
| chrisi@camex.com
| ----------

	I left a (n excelent) performance of Mahler's second a couple of
years back sincerely glad that amplifiers hadn't been invented in
Mahlers time. I'm _sure_ he would have used them!

  I find that we are rather two-faced about the use of technology. The
people who sneer when a DX7 appears in an orchestra tend to be the same
ones who insist we use modern horns, clarinets, etc. in Bach, Mozart ...


			Chris. xxx.



________________________________________________________________________________
    "It's a sobering thought that by the time Mozart was my age he had been
                    dead for two years" - Tom Lehrer.
________________________________________________________________________________
Chris Robson, MS 5UR5			Phone:	(503) 750-2766
HP Corvallis Division			Fax:	(503) 752-7811
1000 NE Circle Bvd.
Corvallis, OR 97330			E-Mail:	chrisr@hpcvra.cv.hp.com
USA
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico ( paganini's admirer )
Subject: Re: Two questions about violin......
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Fri, 29 Jan 1993 00:39:33 GMT

In article 21854@dcs.warwick.ac.uk, wing@dcs.warwick.ac.uk (**Raymond Chan**) writes:
>Dear all Violin Expert,
>
>	What is the use of the piece of metal which players sometimes put in
>near the 'arc' of the violin? Is there any specical name for this and what
>is the notation in the score?
>

if you are talking about the metal wrap on the bottom (frog) of the bow, it is for
player to place his index finger.  

>	Secondly, what is the name of method of playing violin using your
>finger instead of the bow? Why does composer use this and when did it start?

pizzicato.  (notation is pizz.)  it can be done with both right or left hand.
most of time it is for special effect in some orchestral pieces (right hand). 
with left hand pizz., it is likely for showing off some difficult solo passages.

>How is the notation of this method denotes in the score?
>
>Thanks for any answer.
>
>Raymond
>-- 
>Mr. Raymond Chan,   ( 2nd Year SSLC representative ) 
>Deptartment of Computer Science, 
>University of Warwick, Coventry, CV4 7AL, ENGLAND.
>wing@dcs.warwick.ac.uk   OR   csuau@csv.warwick.ac.uk




Newsgroups: rec.music.classical
From: debrown@athena.mit.edu (Master)
Subject: Marines commercial
Organization: Massachusetts Institute of Technology
Date: Sat, 23 Jan 1993 03:07:33 GMT


Hi. Does anyone know what music is played during the commercial
for the Marines with the chess pieces fighting each other.

It sounds a lot like Orff's Carmina Burrana, but it's not, I checked.

Please e-mail me the name of the work if you know.

Thanks,
 
 
Dave.

debrown@athena.mit.edu
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: Classical Music for modern instrument
Date: 25 Jan 93 04:36:02 GMT
Article-I.D.: husc3.1993Jan24.233602.19765
Organization: Harvard Math Department

In article <fan36kd@rpi.edu> mccomt@aix.rpi.edu (Todd Michel McComb) writes:
>In South Indian (Carnatic) Classical music, one does find modern instruments
>and electronic amplification used to perform the classical repertoire. [...]

>So, in Carnatic music one does find modern instruments used in a classical
>setting -- and widely accepted by purists, so long as the music played remains
>in the strict style.

From the very little I know about Carnatic music it would seem that this
is not the first time that's happened: for centuries this music had been
played also on the (European) violin, which supplanted the corresponding
indigenous instrument soon after it was introduced to India by European
traders and/or missionaries.

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Music killed by movies
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Wed, 20 Jan 1993 01:00:53 GMT

judd@wilkinson.cs.colorado.edu (Stephen Judd) writes:
[....]
: The old serials used lots of classical music as well.  For instance, Flash
: Gordon (with Buster Crabbe, of course) used Les Preludes by Liszt.

It also - unless they're very melodically similar, and I confess to be
less than familiar with Les Preludes - used an orchestrated version of
the B minor piano sonata.

--
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: mkahn@merle.acns.nwu.edu (Michael Kahn)
Subject: Re: Mahler 6 (was Re: Mahler 7)
Organization: Northwestern University, Evanston Illinois.
Distribution: usa
Date: Wed, 27 Jan 1993 03:36:38 GMT

If it's of interest to anyone in the Chicago area, the Northwestern University
Symphony Orchestra, under the direction of Victor Yampolsky, will be
performing Mahler's Sixth Symphony this Friday and Saturday night at 7:30 in
Pick-Staiger Concert Hall on campus, right on the lake. Tickets are cheap and
should be available at the door; $10 for non-students, I think.

--Michael Kahn
mlk@nwu.edu





Newsgroups: rec.music.classical,rec.arts.tv.uk
From: Michael.Norrish@comp.vuw.ac.nz (Michael Norrish)
Subject: Theme to Brit. drama "Traffik" (Shostakovich?)
Organization: Dept. of Computer Science, Victoria Uni. of Wellington, NZ.
Date: Wed, 27 Jan 1993 09:12:31 GMT

Here in New Zealand, just some three years after it was produced,
(TVNZ are far from being my favourite people), there is a British
drama series being shown on TV which has some rather wonderful theme
music. After carefully perusing the credits, I spotted that as well
crediting someone with the music, (presumably the incidental stuff),
it said something like: "Shostakovich arranged by foo"

I don't know how much of a mangling this arrangement was, but if
someone knows what Shostakovich the theme to Traffik has been taken
from, I'd be very grateful for the information. With a bit of luck
I'll be able to get a recording out of the library. 

In many ways this will be my first plunge into the 20th century and
I'm quite looking forward to it :-) If people have related
recommendations to make, (about Shostakovich preferably, but other
topics might be considered :-), I'd be keen to hear them too.

To justify the crossposting to rec.arts.tv.uk, isn't Traffik good? I
rather like the way the three stories are presented, and I'm certainly
loking forward to the next episode.

Thanks for any help,
Michael.
From: lampson@software.pulse.com (Dave Lampson)
Newsgroups: rec.music.classical
Subject: Re: Marie-Theresia v. Paradis
Date: 28 Jan 1993 08:43:29 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

In a recent posting, Dale Gold (dgold@basso.actrix.gen.nz) writes:
>[...]  I can't find the composer in my limited library of
>reference books.  Does anyone know anything about the history of this 
>work, or about Mr/Ms Paradis?

There was a blind Viennese virtuoso pianist in Mozart's time by
the name of Maria Theresa Paradis for whom Mozart wrote his piano
concerto #18 K. 456 in 1784.  She was also godchild of the Empress.

Dave
lampson@pulse.com
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: Re: I need CD recommendations of Bach's Sonatas and Partitas Vln Solo
Date: 21 Jan 1993 10:07 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

>From: xilin@northstar.dartmouth.edu ()

>Does any one like Heifetz, at all?  I found him to be too much less musical 
>than technical.  And  I hate his performance of the Bach's Sonatas and 
>Partitas, though I have a set of his CD.


>Xilin

 Yes, I like Heifetz - he _was_ undoubtedly one of the best technicians
ever to play the violin (maybe even the best ever to record - there's 
the famous story of a violinist and pianist attending one of Heifetz'
early concerts in the US. Some way into the concert, the violinist starts
to shift on his seat, pull at his collar and eventually mutters
 `Getting hot in here'
 to which the pianist replied, `Only for violinists').

 But `less musical'? Yes, he has a more austere style than, say, Grumiaux,
Stern or Milstein, and his Bach is detached rather than emotional, but 
very musical (and what about his recordings of Mendelssohn, Brahms,
Beethoven & Bruch concerti, not to mention the chamber music, particularly
the Rubinstein/Feuermann/Heifetz piano trios - surely you can't call
those recordings unmusical?) In fact, Heifetz' style seems to me to be very
similar to Rachmaninov's no-nonsense approach to his (R's) own concerti.
Listen to the latter's recordings of the 2nd concerto or the Paganini
Rhapsody - no wallowing in schmaltz there.

As to the Bach, I wouldn't want to be without the Heifetz version - but
I'd couple it with either the Milstein or Grumiaux set for an alternative
view.

 Neill Reid - inr@eccles.caltech.edu

Newsgroups: rec.music.classical
From: feder@physun.physics.mcmaster.ca (David Feder)
Subject: Novaes on CD?
Organization: Dept. of Physics & Astronomy, McMaster University
Date: Fri, 22 Jan 1993 21:56:53 GMT

I have a box set (VOX vinyl) of Chopin piano pieces played sublimely by
Guiomar (sp?) Novaes; I would very much like to buy them on compact disc
since my records are getting quite scratchy. Does anyone out there know
if these recordings have been released on CD? I am especially interested in
Chopin's preludes. If not, what pianists convey a similar romantic
feeling and warmth to these pieces, who are available on CD? If this is
not a sufficiently interesting question to post on the group, e-mail me
directly at feder@physun.physics.mcmaster.ca

Any opinions on her interpretations of Chopin?