HDTenEightyP/NetNews huggingface dataset:
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Why no amplified solos?
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 17 Dec 1992 16:49:36 GMT

In article <1gq6nfINNc58@menudo.uh.edu> chem91@Elroy.UH.EDU writes:
>In article <BzDoqu.Jv8@mach1.wlu.ca>, mart4678@mach1.wlu.ca (Phil Martin u) writes:
>>
>>With that said, here is my question:
>>
>>"Why do you never hear concerts of symphonic works performed on 'electric'
>>instruments?"
:
>
>* Mantra by Karlheinz Stockhausen (2 pianos with electronic sound 
>modification by "ring modulators"). An epic work, maybe the definitive
>"conventional"/electronic combination.
>
>* Gruppen by Karlheinz Stockhausen (electric guitar and "conventional"
>instruments). Also lots of works by KS for "conventional" instruments and 
>electronic instruments combined -- Mixtur, Kurzwellen, etc., etc.
>
>* 6th Symphony by Hans Werner Henze (voila with "contact microphone" --
>really wild!!)
>
>* 2nd Violin Concerto by Hans Werner Henze (solo violon with electronic
>amplification, and the soloist also recites an electronically-modified
>poem during the performance. Backup included all sorts of percussion,
>prepared pianos, etc.  A classic!)
>
>* Turangulila Symphony by Olivier Messiaen (sp?) Several recordings 
>available, all of which feature the "Ondes Martinot" -- an amazing and
>unique sound (IMHO). 
>
>These will get you started -- there are plenty of others out there. Does 
>anybody else have any favorites I've missed?
>



The Red Byrd disk, "Songs of Love and Death", on the Factory label,
contains a terrific late work of Frank Martin which sets Villon poems
to electric guitar accompaniment.  I believe the Monteverdi pieces
are treated to electrification as well.  (Note:  Factory's demise 
was announced recently in this group.)

John Buller's _Theatre of Memory_, on Unicorn-Kanchawa, features
prominent electric guitaristics.  Good piece too.


 
>Happy listening,
>Bill
>
>
>+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
>| Bill Harrison,            \             /       "Be as radical as... |
>| University of Houston, TX  >-----------<         reality itself"     |
>| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
>+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+


Newsgroups: rec.music.classical
From: xilin@icefloe.dartmouth.edu (Xilin Jia)
Newsgroups: rec.music.classical
Subject: Re: FAVORITE PIANO CONCERTO
Date: 21 Dec 92 06:11:36 GMT
Organization: Dartmouth College, Hanover, NH

Beethoven: 4th, 5th
Rachmoninov: 2nd, 3rd
Prokfiev: 3rd
Mozart: 20th, 23rd, 27th
Chopin: 1st
Tchaikovsky: 1st


Xilin@dartmouth.edu
Newsgroups: rec.music.classical
From: timm@sage.cc.purdue.edu (Timm Knoerzer)
Subject: Re: Difficult concertos for various instruments
Organization: Purdue University Computing Center
Distribution: w
Date: Wed, 16 Dec 1992 01:04:57 GMT

Hello, 

	I've been reading the posts on _Difficult concerti for various 
instruments_ and thought I would add a couple of my own.  There has been 
mention of the Jolivet Concerto #2 for trumpet.  This piece along with the 
Tomasi Concerto and the Jolivet Concertino are all challenging pieces.  If 
you have not heard these pieces, Wynton Marsalis has a recording that contains
all three.  A final piece that I think is equally difficult is the Halsey 
Steevens Sonata for Trumpet.  I played this particular piece on a recital and
it was an exciting adventure to put together with the pianist.  I only know
of one recording and can be found on LP at the Chicago public library.  

	just my 2 cents

Timm Knoerzer 
Department of Medicinal Chemistry
Purdue University
From: Simon.N.McRae@dartmouth.edu (Simon N McRae)
Newsgroups: rec.music.classical
Subject: Re: The BEST finale!
Date: 17 Dec 92 00:11:59 GMT
 <1992Dec16.222106.2989@fid.morgan.com>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0b3@newshost.dartmouth.edu

What about the ending to the last movement of Schubert's D. 959 Piano
Sonata (A major)?  It starts with the hesitant looks back to the
beginning of the movement.  And then, not too loud, the theme that
started the whole work off four long movements before makes a
miraculous return, as if to confer perfect absolution upon everything
that has transpired.  Really, shit like this gives me faith in
humanity.

Also, the end to Prokofiew's Violin Concerto #2 does a lot for me,
especially the last three chords.  For some reason they always leave me
a bit nonplussed, and I like it!

Has anyone considered on the other hand the most ruinous endings?  I
mean by this the worst tie up's to otherwise wonderful music.  I'd have
to nominate in this catgory any Italian opera by Mozart.  I loathe the
ending to Le Nozze, after the Countess has told her husband that she
forgives him in what must be one of the most touching scenes in opera,
where everyone starts singing about going off and having some fun.  And
the ending to Don Giovanni, gimme a break.  Having the don being
dragged down to hell is a much better way to end it than by having a
bunch of nerds singing about how happy they are that he's gone.  Of
course I blame da Ponte more for these mistakes than Mozart.  I think,
however, that old Wolfgang should have put his foot down. 

Oh, and the last movement to Brahms' Piano Concerto #2 seems way too
insubstantial.  It makes the whole piece awfully top heavy.  But of
course this is not a new objection to the Brahms' at all.


Simon
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: why no women composers (was Re: FINAL FINAL THOUGHTS !!
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 13 Dec 92 21:45:33 GMT

In article <1992Dec13.135511.2227@Princeton.EDU> mikulska@astro.princeton.edu (Margaret Mikulska) writes:
>In article <VuLLVB1w165w@cybernet.cse.fau.edu> elmo@cybernet.cse.fau.edu (Yuri Villanueva) writes:
>
>We covered this topics recently (women conductors, that is).
>
>>At least 90% of the pianists,
>>violinists, etc. are men.  Yes, even among the 14- to 19-year-old wunderkind
>>pianists -- nope, no girls there.
>
>Pianists, no - but among wunderkind violinists you forgot Midori.
>

And Sarah Chang too.  (Although, I think she's under 14.)

As to the subject of "is there a songwriting gene and do 
women have it?":
Most composers in the "canon" lived during eras when women had 
few (if any) opportunities to study music and composition.  So, 
it may be more appropriate to look at genre's outside of classical 
music.  Doing this, we can see that many women composers (or songwriters) 
are very successful: Carole King (as successful as any "tin pan alley"
songwriter), Joni Mitchell (ditto - 70's singer-songwriter), Marion
Williams (noted more as a gospel singer - but she wrote most of her
most "famous" songs, such as "Surely God is Able"), etc.  From this
I surmise that women can aspire to careers in music composition.

John D.

Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: Re: favorite endings
Organization: HAC - Johns Hopkins University, Baltimore
Distribution: na
Date: Wed, 16 Dec 1992 22:53:52 GMT

In article <BzDAyw.JuB@news.udel.edu> graziano@ravel.udel.edu (Lisa Marie Graziano) writes:
>
>Brahms, symphony #1
>Brams, piano quintet in...in... oh no! I can't remember! I'll look it up.
>(A minor, maybe?)
>Beethoven, end of 1st movement of "Tempest" sonata. 

Mahler, das Lied von der Erde, Abschied.


-- 

	Francois Velde

Newsgroups: rec.music.classical
From: hudu@well.sf.ca.us (Scott Marley)
Subject: Re: Most drawn-out ending (Was: Best endings)
Organization: Whole Earth 'Lectronic Link
Date: Sun, 20 Dec 1992 04:20:15 GMT

In <1992Dec19.230054.4363@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:


>I'm gonna get flamed for this, but...

>Beethoven's 5th Symphony.

>Sounds like it's going to wrap up about five different times in the finale.

I'm with you on that one!  Has ever another piece of music so sublime ever
had as silly as ending as this?  One cadence formula after another, after
another, after another....no matter how glorious the rest of the symphony
has been, I can never help but laugh a little bit at the last two or three
minutes.

Scott Marley
hudu@well.sf.ca.us
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.classical
Subject: Re: Maddy Prior's Christmas album
Date: 14 Dec 1992 22:45:19 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis) writes:
>It's called "A Tapestry of Carols".  I wholeheartedly second this nomination!
>There are some very original interpretations on this album.  "Angels WeHave 
>Heard On High" must be heard to be believed -- either you'll love it or hate 
>it!  Merry Christmas, everyone...... :-)

This album, by Maddy Prior and the Carnival Band, is on an English label,
SayDisc.  There's a companion recording of non-Christmas hymns played in
an exhuberant, raw style inspired by the sorts of parish gallery bands that 
Thomas Hardy describes in his novels.  Both recommended.

--James Langdell     jamesc@eng.sun.com
  Sun Microsystems   Mountain View, Calif.
From: adolphso@mizar.usc.edu (adolphson)
Newsgroups: rec.music.classical
Subject: Re: NEWS: Pavarotti booed out of the SCALA
Date: 18 Dec 1992 18:53:16 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: mizar.usc.edu

In article <1992Dec19.020430.20024@cs.ucla.edu> 
gds@cs.ucla.edu (Greg Skinner) writes:

> In article <1gtlk3INNqul@mizar.usc.edu> 
> adolphso@mizar.usc.edu (adolphson) writes:

> >In article <w0PqVB1w165w@midiline.la.ca.us> 
> >pattisan@midiline.la.ca.us (Patti Hayes) writes:

> >>But as to the Boorishness of the audience...It was at LA SCALA...A
> >>tenor kingdom like  San Francisco...In EUROPE they want things right
> >>and if you don't do so you get booed!...

> >And rightly so.

> I don't suppose it ever occurred to you that the performer who is
> making mistakes feels at least as badly about them as you do.

So what?  We're talking about *opera*, which has a centuries-old
tradition of loud, demonstrative audiences.  Boos, catcalls, and
whistles are just as much a part of opera as are flowers, cries
of Bravo!/Brava!, and applause.  I *like* it that opera audiences
express themselves this way.  I think it's great that when Renata 
Scotto finished singing "Casta diva" at the Met some guy shouted 
"Basta diva!"  I think it's hilarious that some queens in standing 
room in San Francisco started applauding and shouting "Brava!" when 
Monserrat Caballe hopped from the ship to the dock in La Gioconda.
Booing, whistling, and the like are not *necessarily* boorish.

> >>remember MOST of the audience knows the opera,aria,etc
> >>just as well as the performer. They are mostly frustrated singers
> >>and are just waiting for the performer to make a mistake. 
>
> ... undoubtedly, not thinking that one day it may be them up there,
> making mistakes ...

And getting booed for it, too.

> >>I find them embarrasing with their jaws shaking and 
> >>lack of diaphram control coupled with poor breath control. I may not boo
> >>because I am in america but I sure let someone know about my lack of
> >>satisfaction about their choice. 
> >Just boo the next time.  It gets the point across quickly and easily.
>
> Y'know, nobody's forcing you to stay there.  If you don't like it, you
> can leave.  You can also not go see that performer any more.

Huh?  

Arne

Newsgroups: rec.music.classical
From: alan@highlite.uucp (Alan McConnell)
Subject: Parry, Lady Radnor
Organization: Gotham Communications Research
Distribution: rec.music.classical
Date: Thu, 17 Dec 1992 23:59:35 GMT

Lads and lassies all, I need help.  Sir Hubert Parry wrote a
pleasant folksy piece for string orchestra called Lady Radnor's
Suite.  My CD of the piece states that the piece "was written for
a chamber orchestra conducted by Helen, Countess of Radnor, wife
of the fifth Earl of Longford Castle, Salisbury."  Can anyone out
there provide more info on the piece or the dedicatee?  my
grateful thanks for all efforts!
Alan McConnell   alan@highlite.gotham.com
-- 
Alan McConnell             "What wondrous life is this I lead!
Pixel Analysis              Ripe apples drop about my head . ."
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Tower records
Date: 17 Dec 1992 23:53:22 GMT
Organization: University of Houston
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu



Could somebody please e-mail me the 1-800 number for Tower Records?

Thanks,
Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: boarjas@elof.iit.edu (Jason Boardman)
Subject: **QUICK SINEAD SURVEY PLEASE ANSWER**
Organization: Illinois Institute of Technology, Chicago
Date: Fri, 11 Dec 92 17:00:19 GMT


*****  SIMPLE SURVEY -- PLEASE READ *****

I have seen much talk about Sinead on the net lately, 
and was wondering what the general opinion of Sinead
was.  Please take the 20 seconds it takes to reply to
this question and answer it.  (A simple Y or N will do).
Please use your newsreader's reply option or regular
email to submit votes -- do not post your answer.

Question:
Do you still support (or have a general good opinon of)
Sinead O'Connor?

If you wish to send detailed replies as to why or why not,
please do, but they are not required.  Thanks in advance!

Jason Boardman
boarjas@elof.iit.edu
Newsgroups: rec.music.classical
From: evan@top.cis.syr.edu (Evan Cheng)
Subject: The Good CD Guide
Organization: Syracuse University, CIS Dept.
Distribution: usa
Date: Sun, 20 Dec 92 04:42:22 EST

Hi. I was wondering if any body know a place where I can get "The Good
CD Guide" (a Gramophone publication.)

Or maybe somebody have an issue that he/she want to get rid of (I don't
mind getting a 92 or 91 issue.) Or maybe someone if switching from
classical music back to pop or rock (am I crazy?), thus doesn't need
the ... I better stop now, I am not making sense anymore, it's getting way
too late ....

Thanks.

Evan Cheng
evan@top.cis.syr.edu
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: re: 78s and quick tempos
Organization: University of Western Ontario
Date: Sun, 13 Dec 1992 02:17:04 GMT

This is a longshot, but check to see that the pieces are played on pitch. 
The actual speed of 78s tended to vary quite a bit and if RCA remastered 
them at 78 when they were actually recorded somewhat slower, the pieces 
could seem a little fast.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Newsgroups: rec.music.classical
Subject: Re: Requia
Date: 15 Dec 92 21:38:34 GMT
Organization: HAC - Johns Hopkins University, Baltimore

In article <1992Dec15.064014.3879@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1992Dec14.215344.8507@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>>cb@tamarack13.timbuk (Chris Brewster) writes:
>
>>: I didn't study Latin but my wife did.  We agreed that more than one
>>: kleenex would be several kleenices, and she informed me that more than
>>: one thermos would be several thermores.  I want to get these things
>>: right.
>
>>Naaaaah, more than one thermos would be thermoi - it's Greek not
>>Latin. (The th and os are giveaways).
>
>It could easily be a Latin loanword from Greek.

It's a made-up word, trademarked by Sir James Dewar in 1907 (trademark
289,470). I'm not kidding: check the OED. I guess Sir James gets first
choice on what the plural should be.

Henceforth please refer to the word as thermos(TM). We don't want any 
legal trouble here.

-- 

	Francois Velde
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: _Scientific American_ on Music
Date: 13 Dec 92 17:55:12 GMT
Article-I.D.: husc3.1992Dec13.125514.18455
Organization: Harvard Math Department

In article <Bz3zyt.11y@news.cso.uiuc.edu>
erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:
:Noam Elkies writes
:> Diana Deutsch: Paradoxes of Musical Pitch.  Sci.Am. 8/92, 88-95.
:> 
:>   This article reports on the sometimes surprising results of
:>   experiments [involving] Shepard tones....
:
:I was also surprised this article wasn't brought up here.  As well as finding  
:the results of the experiments interesting, I was also intrigued by the mention
:of the fact that scales of Shepard tones have been used in some contemporary  
:music.  (These are scales which seem to go higher and higher (or lower) for as
:long as desired, without ever really going anywhere; sort-of like a barber's  
:pole.)  The author mentioned that such a scale was used by Risset to represent 
:the falling of a bomb.  Anyone know of other examples, particularly in  
:non-electronic music?

Can't help you with Shepard scales in contemporary music, but a similar
device can be found at least as early as Schubert --- look at the 6-octave
scale (or is it?) at the end of the piano part of his C-Major Fantasy for
violin and piano.

Deutsch also speculates that her experimental observations might be
significant for human speech recognition.  This raises the question of
whether non-human animals exhibit either relative or absolute pitch,
and to what extent: can a monkey or a guinea pig be trained to tell
A-440 from the neighboring G or B-flat, or to respond to a major third
(whether melodic or harmonic) in one way and to a minor third in a
different way?

--Noam D. elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: Composers with the Worse Name
Date: 21 Dec 92 00:00:48 GMT
Organization: MIND LINK! - British Columbia, Canada

This thread reminds me of an English polar explorer many years ago named Sir
Vivian Fuchs or something similar. The headlines on the London tabloids
reportedly read: SIR VIVIAN FUCHS OFF TO POLE.
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Brahms Symphonies
In-reply-to: chomicki@cis.ksu.edu's message of 11 Dec 1992 16:55:44 GMT
Organization: pubs
Date: 11 Dec 92 12:53:27 CST

Jan Chomicki writes:

   I'd like to solicit opinions about the best performances of Brahms
   Symphonies, both individual symphonies and complete cycles. In particular,
   is the critically acclaimed (according to Stevenson's) cycle by
   Wand worth obtaining? Thank you.

As usual with the Big Works, Klemperer is at the top of my list.  Also
in that position is Szell, who delivers strength through economy, if you
follow.  For me, "Brahms symphonies" means 3 and 4.  1 and 2 are big
deals of course, but they've never been in a class with the last two for
me.

Chris Brewster
cb@cray.com

Newsgroups: rec.music.classical
From: ssteigma@scott.skidmore.edu (Stephen H. Steigman)
Subject: Re: National Symphony (Was: Standing OHHHH...)
Organization: Skidmore College, Saratoga Springs NY
Date: Sat, 19 Dec 1992 06:22:03 GMT

First, see my followup to the last post, but IMHO, the NSO continues
to rise and rise on the charts of top orchestras.  After working with
the NSO for a few months (intern) I really do think that they are one
of the better orchestras in the U.S.  While this may seem a bit
biased, may I add that I grew up listening to the Chicago Symphony and
the Philadelphia orchestra!

It's sad that Mstislav Rostropovich is leaving the orchestra.  He has
really turned the National Symphony into a top-notch orchestra.  But,
the orchestra plays consistently well even under different guest
conductors.  

Hey, I'd love to talk all about the NSO, but will do so through mail!

Cheers,

Stephen 
-- 
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Stephen H. Steigman   INTERNET: ssteigma@skidmore.edu
Skidmore College      VOICE:    (518) 581-6111 
Saratoga Springs NY  12866
Newsgroups: rec.music.classical
From: lfd@cbnewsm.cb.att.com (Lee Derbenwick)
Subject: Re: Too Polite (was Re: news: pavarotti booed out
Organization: AT&T
Date: Tue, 15 Dec 1992 23:10:36 GMT
Summary: My Minnesota mileage must have differed.

In article <1992Dec15.150531.19216@news2.cis.umn.edu>,
jill@gopher.ccbr.umn.edu (Jill Hollifield) writes:
> I live in Minnesota, "Home of the Obligatory Standing Ovation" (tm).
> I have never been to a concert where there wasn't a SO, whether
> the performance was good, bad, or indifferent.

What concerts do you go to?  My wife and I lived in the Minneapolis
area from 1987 - 1989, and we attended _lots_ of Minnesota Orchestra
concerts at Orchestra Hall, plus a bunch of SPCO concerts at the
Ordway.

Leaving out a horrid 11:00am Sommerfest audience, there were few
standing ovations, and I very few that weren't well deserved.  (I
might have to make an exception for when Cho-Liang Lin pulled out
a Homer Hanky between movements during the World Series.  But it
was certainly understandable.  :-)  Besides, he got an _earned_
one at the end of the piece.)

> So, my questions:  Does this happen anywhere else?  And what are *your*
> criteria for a standing ovation?  What has to happen to bring you
> to your feet?

We were pleasantly surprised when we moved there to discover that
there were so few in Minnesota.  New York City had reached the point
where the performance didn't seem to matter.  Maybe the audience
felt that anything they had paid that much for _had_ to be good
enough for the ovation?  :-(

(Did ticket prices in Minneapolis go up too much since we left?
Or was it Wednesday nights vs. weekends?  We _rarely_ went to
weekend performances.)

Here in New Jersey, now, there's an occasional standing ovation at
a New Jersey Symphony Orchestra concert, and only the most recent
struck me as totally undeserved.

For me, a performance has to be beyond just what I ought to be able
to expect of competent professionals, and it has to a total
performance.  I will politely applaud awesome technique in spite of
an interpretation I can't stand, and I will politely applaud a
gorgeous interpretation in spite of technical flaws, but I won't
stand up for either.  (My criteria for amateur and children's
performances are more relaxed -- they tend to be based on what I
feel I ought to be able to expect from a performance.)

I have noticed that dance audiences (here and elsewhere) seem to be
very generous with ovations, often in spite of painful technique
and unison problems...

 -- Speaking strictly for myself,
 --   Lee Derbenwick, AT&T Bell Laboratories, Holmdel, NJ
 --   lfd@cbnewsm.ATT.COM  or  <wherever>!att!cbnewsm!lfd
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Dresden was Re: One-work-composers
Date: 17 Dec 92 16:11:55 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

>In article <1992Dec14.173939.6318@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>>written probably at least 4 before that. The conductor Willem
>>Mengelberg recalled an all night session spent at the house of the
>>Weber family (descendants of the composer) in - perhaps - the 1920s,
>>playing through the manuscripts of 4 unknown Mahler symphonies which
>>he had entrusted to Baroness von Weber. As the family lived in Dresden
>>it is unlikely that the manuscripts survived......

I'd just like to point out that this is a non-sequitur.  Contrary
to popular image, Dresden as a whole was not leveled -- only the 
central area and a few other areas.  Many residential areas, including some
where nobility might have lived, were untouched.  The Landesbibliothek,
among other things, remained intact (thank heavens!).

Besides, great treasures such as those scores, if they existed, would
probably have been evacuated.

Roger
Newsgroups: rec.music.classical