HDTenEightyP/NetNews huggingface dataset:
From: ssc@nwu.edu (Steven Chung)
Subject: Re: I need CD recommendations of Bach's Sonatas and Partitas Vln Solo
Originator: schung@casbah.acns.nwu.edu
Organization: Northwestern University, Evanston Illinois.
Date: Fri, 22 Jan 1993 00:03:29 GMT

In article <21JAN199310074916@eccles.caltech.edu> inr@eccles.caltech.edu (I. Neill Reid) writes:
#  to which the pianist replied, `Only for violinists').

I heard it as 'not for a pianist' but anyway...

# 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?)

I'll venture out...  I know many people like it, but I can't stand
Heifetz's recording of the Beethoven concerto.  He runs through it at
lightning speed, as if playing the Tchaikovsky or somesuch.  I can hear his
technical and structural grasp of the piece, but it lacks spirit, warmth.
Not that I want romanticized Beethoven, but compare with one of Grumiaux's
recordings...

Heifetz's Brahms is another matter.
From: cj195@cleveland.Freenet.Edu (John W. Redelfs)
Newsgroups: rec.music.classical
Subject: Billboard Classical List
Date: 28 Jan 1993 23:15:48 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: cj195@cleveland.Freenet.Edu (John W. Redelfs)
NNTP-Posting-Host: hela.ins.cwru.edu


During the seventies and early eighties, I occasionally found some
really nice classical music by trying out recordings listed in Billboard
Magazine on their Classical Music Chart.

For the last eight years I have been living in Alaska far from a copy of
Billboard Magazine.  Can anyone suggest a way that I might be able to
obtain the same information over the Internet?

There are lots of ways to get Billboard Charts over the Internet, but it
is all popular music.

I've got the Penguin Guide, but it is not as current as the Billboard
Charts.
-- 


--------- All my opinions are tentative pending further data. ---------
------------ John W. Redelfs, cj195@cleveland.Freenet.edu -------------
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Newsgroups: rec.music.classical
Subject: 2 discs vs 1 (was Re: Mahler 7)
Date: 26 Jan 93 23:08:58 GMT
Organization: University of Virginia

In article <1993Jan26.114314.7147@bristol.ac.uk> plcdib@bristol.ac.uk (C D I Bertram) writes:
>just one disk at mid-price. One thing that does make me angry
>about the price of CDs is the fact that when Mahler symphonies
>(ed Rattle 2) spill over onto a second disk, the record companies
>charge double the price of a single disk. I'm willing to buy
>some of what they say about the cost of recording etc, but
>no way does the provision of an extra disk and a *very few* minutes
>more music justify doubling the cost.

And you KNOW something's not right when, as is the case at at least 
one local store I frequent, the single CD's are 12.99 regularly, but
double-CD's are 33.99, nearly *3* times the price!  This very fact
prompted Guns 'N' Roses to release their new double-album on two
single CD's, saving their fans some money...


-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Bach Art of Fugue
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Wed, 20 Jan 1993 21:45:07 GMT

In article <1jk801INNhlu@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:
>In article <C13uuH.7LI@sci.kun.nl> pieterh@sci.kun.nl (Peter Herweijer) writes:
>>Part umpteen in a fascinating thread: 'The Leonhardt Essay -- Summary'
>>(as promised).

>Thank you for the very comprehensive summary. I found it very interesting.
>My initial impression (not yet having looked through all the specific
>pieces Leonhardt mentions) is that I remain unconvinced that Bach felt
>that he was writing a harpsichord piece. It is true that he did not want
>to preclude playing on the harpsichord, and Leonhardt may be right that
>it is the most logical solution. BUT, unlike the Goldberg Variations or
>Italian Concerto, there does not seem to me to be anything that explicitly
>says that Bach wrote the piece with only harpsichord in mind.

Well, what else did he have in mind?  No other set of instruments can
play it without revision!

>In the 20th century we are used to a tradition in which composers have
>very explicit instructions about instrumentation. Bach wrote explicit
>instrumentations too, but only most of the time. 

Actually, in all other cases except for a few puzzle canons, which 
KdF isn't.

>Looking back expecting
>there to be only a single solution I think reflects this prejudice and
>ignores the tradition (which goes back much further) of writing pieces -
>especially contrapuntal ones or studies - without a specific instrumen-
>tation. 

What tradition is that?  If you refer to Renaissance instrumental music,
those pieces were indeed written with ensembles in mind: any one of a 
small set of ensembles (viols, recorders, etc.).  We have no identified 
any ensembles at all that Bach could have envisioned.

>I think that the AoF is a work of pitches and rhythms which Bach
>made playable on the harpsichord.

What does "a work of pitches and rhythms" mean?  All pieces are that;
and, as Leonhardt notes, we can indeed identify the tradition of notating
keyboard music in open score and vocal clefs.

Leonhardt shows pretty convincingly that these are not just fugues,
but *keyboard* fugues.  Bach didn't write "just fugues"; he wrote choral,
instrumental, solo violin, organ, and harpsichord fugues.  All these
styles differ from one another; these fugues look like keyboard fugues.

>But the bottom line for listeners is what you enjoy. I've given my
>recommendations, and I certainly respect those people who prefer the
>work on harpsichord, organ, synthesizer, or whatever.

Fine.  

Roger
Newsgroups: rec.music.classical
From: danielh@sequent.com (Daniel Hobbs)
Subject: Re: Beethoven quartets
Organization: Sequent Computer Systems Inc.
Date: Thu, 21 Jan 93 23:09:20 GMT

In article <1993Jan20.162825.13457@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:

...stuff deleted...
>Well, I'm not good at discography in general, but I'm convinced that 
>Tokyo has recorded at least some of the Schubert quartets for BMG/RCA Red Seal.

I have a recording by the Tokyo of Schubert's "Death and the Maiden" and
"Quartetsatz" (or however the hell it's spelled).  I'm not at home, so I
can't remember the label, but it's some ultra-budget label (Vox Unique or
one of those...).

Dan
danielh@sequent.com


Newsgroups: rec.music.classical
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Subject: Re: Anyone heard of Gliere?
Organization: University of Virginia
Date: Fri, 22 Jan 1993 00:02:13 GMT

In article <1jn3pcINNddl@MINERVA.CIS.YALE.EDU> ronthal-adam@yale.edu (Adam Ronthal) writes:
>I finally got around to catching up on my news, and I noticed this subject
>line from Deryk B.  The article was unavailable, but I thought I'd respond 
>anyway.
>
>All I know about Gliere is that he wrote a very cool concerto for Horn and
>Orchestra.  It's recently been re-released on Philips (It was out of print
>for a while) and it is definitely worth picking this up.
>

He wrote at least three symphonies, too.  The Third, called "Ilyra Murometz",
is a substantial work, taking two CD's.  It has some neat brass chorales in
it, but, to be brutally truthful, it's really boring overall.  There's only
one recording of it that I know of, but I don't know the performers, as a
friend of mine owns the recording I heard.

-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote
From: lampson@software.pulse.com (Dave Lampson)
Newsgroups: rec.music.classical
Subject: Re: Novaes on CD?
Date: 25 Jan 1993 10:34:27 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

In a recent article to rec.music.classical, David Feder 
(feder@physun.physics.mcmaster.ca) writes:
>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? 

Moss Music Group (who now owns the Vox and name) have released a 2CD set of
pieces for piano and orchestra, with some encores, in their fairly new "Vox
Legends" series (~$10).

   Guiomar Novaes Plays Piano Concerti
   Beethoven: Concerto #4 Op. 58
   Chopin: Concerto #2 Op. 21
   Schumann: Concerto Op. 54
   Encores by Bach, Gluck, Saint-Saens, Brahms & Beethoven
   Vienna Symphony Orchestra
   Otto Klemperer, Conductor
   CDX2 5501

They may well release further sets of the Chopin solo piano music.  I tend
to think that it might not be real soon (unless this release sells very well)
as there are many Chopin recital CDs in the various MMG lines featuring the
likes of Ivan Moravec and Dubravka Tomsic and including an excellent nearly
complete set (missing the Preludes, oddly) on 5CDs featuring Abbey Simon.
The Simon recordings are all available separately for ~$9 each, and are 
worth checking out.

Dave
lampson@pulse.com

For detailed lists of Recommended Classical CDs, Basic Repertoire and Buying
Guide access cs.uwp.edu (131.210.1.4) by anonymous FTP, or email me for info.

Contribute to the rec.music.classical biography project!  Email me your bio!

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: I need CD recommendations of Bach's Sonatas and Partitas Vln Solo
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 22 Jan 1993 22:15:52 GMT

ssc@nwu.edu (Steven Chung) writes:
: In article <21JAN199310074916@eccles.caltech.edu> inr@eccles.caltech.edu (I. Neill Reid) writes:
: #  to which the pianist replied, `Only for violinists').
: 
: I heard it as 'not for a pianist' but anyway...
: 
: # 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?)
: 
: I'll venture out...  I know many people like it, but I can't stand
: Heifetz's recording of the Beethoven concerto.  He runs through it at
: lightning speed, as if playing the Tchaikovsky or somesuch.  I can hear his
: technical and structural grasp of the piece, but it lacks spirit, warmth.
: Not that I want romanticized Beethoven, but compare with one of Grumiaux's
: recordings...

I agree, I was most disappointed. And maybe the recording or transfer
is particularly poor, but the famous "tone" seems very steely to me.

--
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,rec.music.classical.guitar
From: will@ogre.cica.indiana.edu (William Sadler)
Subject: Re: When is A-440?
Organization: Indiana University
Date: Mon, 25 Jan 1993 14:41:13 GMT

In <93022.220114IO21145@MAINE.MAINE.EDU> <IO21145@MAINE.MAINE.EDU> writes:

>I've just entered the world of period instruments with a 18 th
>century guitar (reproduction of course). I was just interested
>to find out when "our" standard of A-440 came into use. I'm sure
>it was a gradual change... but I'd like to see if it would be
>worth tuning down for Sor, Giuliani, Mertz etc. I purchased some
>extra low tensionstrings to emulate gut the best I can. Are there
>any thoughts ????? All responses appreciated!


If I remember coorectly A-440 came into use sometime in this century
(as did strict reliance on evenly tempered tuning).  Before then it
varied from 380-480 depending on where you were.  There is some evidence to
suggest that it was usually around 400 in the 19th c and earlier, but
existing organ pipes from the 17th and 18th centuries vary a great
deal.

Will
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
Newsgroups: rec.music.classical
From: lungtt@gus.ecn.purdue.edu (Terence T. Lung)
Subject: Re: Should I join BMG?  
Organization: Purdue University Engineering Computer Network
Date: Tue, 26 Jan 1993 01:00:42 GMT

In article <1993Jan25.140339.21538@hemlock.cray.com> dadams@cray.com writes:
>
>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?   

I guess this depends on your own taste in selections.  
In my case, I don't care for BMG.  With the price of shipping
and handling that you pay for the freebies, etc, I remember 
the price of the CDs averaging from around $7 and up.  That's
not bad.  But when you don't see anything you like in their
catalogs from one month to the next over the course of a few
years, it becomes a drag.  To me, the catalogs seem to list
mostly the same things over and over again.  I think I've even
telephoned BMG to see if they have in stock those recordings
that I am looking for but don't seem to be in their catalogs.
By and large, what you see in the catalogs is what you get.
I'm picky and consider most of BMG's classical selections to be 
second-rate recordings.

I have seen a couple things to my liking like the Heifetz
Beethoven/Brahms violin concerto RCA recording.  But it's not
going to be worth it to have to "buy" [even though the first
batch will be free, you still pay for postage] along with it, 
three to seven other things that you don't care for.
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Classical Music for modern instrument (was Re: The shortest distance between two chords is...)
In-reply-to: chrisr@hpcvra.cv.hp.com's message of Fri, 22 Jan 1993 01:29:08 GMT
Organization: pubs
Date: 22 Jan 93 13:57:08 CST

Chris Robson writes:

   As to your point about classicly trained musicians not projecting their
   training into rock - well isn't that what being idiomatic is all about?
   I have in mind Joe Jackson, a supurb musician, who has produced work in
   many different idioms. I don't expect him to use the same harmonies in
   his 'punk' works as in his '40s swing work.
...
     What really turns me off though is bands which use the 'classical'
   genre (whatever that is) as phallic extensions - (I won't mention
   ELP by name as I don't want to be flamed).

I guess since I sounded snobbish, I was risking being misinterpreted.  I wasn't
thinking of those awful attempts to sound classical in pop (Moody Blues with
London Symphony and so forth).  I see no reason why idiomatic pop couldn't use
wider technical resources.  As I said, as far as chords per se, pop sometimes
does break out of its straitjacket, but for harmonizing voices, never.

Chris Brewster
Newsgroups: rec.music.classical
Subject: Re: Messaien Organ Music - Recommendations Please
From: <MHUGHES@MIAMIU.BITNET>
Date: Monday, 25 Jan 1993 15:35:32 EST
Organization: Miami University - Academic Computer Service

My best single dic recommendation would be a disc on the French ADDA label,
Susan Landale at the Cavaille-Coll (i.e. an authentic) organ of the church
of St Vincent de Paul, Paris.  The works on the disc are among Messiaen's
most accessible:

  La Nativite
  La banquet celeste
  Apparition de l'eglise eternelle

The sound quality is spacious and reverberant, as it should be. It is DDD.

For the *definitive* Messiaen, get the recent budget reissue of Messiaen
performing his own complete works (up to 1956) at his own organ (the
Cavaille-Coll/Merklin organ at Ste Trinite, Paris).  The interpretations
can only be called definitive, but the sound quality is awful.  It is
circa-1956 mono, with bad splicing and organ pitch changes between
splices, as well as some out-of-tune reed stops.  But for the real thing,
one should have it.  It is on EMI.

Mike Hughes
From: zornow@hpcc01.corp.hp.com (Claudia Zornow)
Date: Fri, 22 Jan 1993 20:20:16 GMT
Subject: Re: Sunday morning music selection
Organization: HP SSD R & D
Newsgroups: rec.music.classical

dmilette@mudhead.uottawa.ca (Denis Milette) writes:

> Just like the title says, would anyone suggest me a few music
> selections for any given sunday morning? You all know the perculiar
> atmosphere that day carries while sipping your morning coffee.
> As you gaze with an uncertain eye your backyard, wondering as to why
> in fact you woke up!

I nominate Strauss's "Morning Journal" Waltz.  This was used as
the theme to some program on WUOM-FM in Ann Arbor years ago
(perhaps it still is?).

Claudia
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Biography questions (of Wagner singers)
Organization: University of Delaware
Date: Thu, 21 Jan 1993 20:49:58 GMT

A couple updates to my response of yesterday.

Wolfgang Windgassen died in 1974.

Claire Watson died in 1986.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: pieterh@sci.kun.nl (Peter Herweijer)
Subject: Re: Classical Music for modern instrument (was Re: The shortest distance between two chords is...)
Organization: University of Nijmegen, The Netherlands
Date: Mon, 25 Jan 1993 11:39:35 GMT

In <1993Jan23.033540.11775@colorado.edu> judd@wilkinson.cs.colorado.edu (Stephen Judd) writes:

>I am simply looking for new music to explore, particularly that which is
>harmonically creative in a devoid area, i.e. real innovation.

I am going to be slaughtered for this...

(Some, not all) Metal, Trash, Grindcore, Deathmetal.  These guys are
young, but the best of them have a good technique and know more than
your average pop musician abouth what they're doing.  They are not
interested in conforming to normal pop-music practice or making the
music easy on the ear.  You'll find -if you can make it out through
the distortion- harsh dissonances, tonalities all over the place,
irregular meters etc.

Of course, it's what most people would refer to as an 'unholy racket'.
It is also as far from classical music as one can get.

Peter Herweijer
pieterh@sci.kun.nl
Xref: sparky rec.music.classical:21050 rec.music.misc:31116
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Subject: Re: I'll be in Chicago.
Organization: University of Virginia
Date: Mon, 25 Jan 1993 23:52:47 GMT

In article <1993Jan24.211851.46706@kuhub.cc.ukans.edu> wagner@kuhub.cc.ukans.edu writes:
>
>	I am going to be in Chicago on March 2 & 3. I am hoping to catch a CSO
>concert while I am in town. If someone would please mail me what is (if it is)
>going to be played on those dates. I am a brass player, so I am hoping for some
>Mahler or Bruckner or Wagner. I can hope. Please let me know.
>
You're out of luck, I'm afraid.  They're doing a chamber concert the 1st,
and the Civic Orch. is doing Mahler 5 the 5th.  A friend of mine sat in
on a Civic rehearsal (he plays trombone) and said they sound almost as
good as the CSO!  I personally heard them do Bruckner 4 Jan. 13 (Bud and
the gang used rotary-valve trumpets) and it was, predictably, awesome
(just thought I'd rub it in :) ).

Your next-best hope is to road-trip up there again for Mahler 9.  Rafael
Kubelik is returning to conduct that on April 15, 17, and 20!
N
>for these dates if they are indeed playing. Any other tips for spots to visit
>while there would be appreciated.
>
Go to the top of the John Hancock building.  The 94th floor is a dedicated
observatory.  You haven't lived till you've seen Chicago by night! :)
Also, Rose Records is on Wabash St. (west side) on the same block (north/
south) as Orchestra Hall.  In other words, it's "behind" Orchestra Hall.

>p.s. Anyone else auditioning for NRO? (Nat. Rep. Orch.)

A couple friends o' mine, but I'm not that good. :(
>
>wagner@kuhub.cc.ukans.edu
>	or
>cs532@freenet-in-a.cwru.edu


-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote
From: korkosz@uicsl.csl.uiuc.edu (Richard Korkosz)
Newsgroups: rec.music.classical
Subject: Re: Perahia, Pratt
Date: 27 Jan 1993 06:50:49 GMT
Organization: Center for Reliable and High-Performance Computing, University of Illinois at Urbana-Champaign
Distribution: world
NNTP-Posting-Host: uicsl.csl.uiuc.edu

kint@rio.engr.washington.edu (Rick Kint) writes:

>	WRT the old thread about Murray Perahia cancelling concerts, I just
>received a letter stating that his appearance in Seattle Feb 14 has been
>cancelled due to an injury to his hand.  The only other detail the letter
>gives is that "the nature of his injury will prevent us from re-scheduling
>his performance this season."

>	The replacement they lined up is Awadagin Pratt, 1992 Naumburg
>Winner.  Does anyone know anything about this gentleman?  He's playing
>an excellent program: Franck, Prelude Chorale & Fugue;  Beethoven, Op. 110;
>Bach, Chromatic Fantasia & Fugue;  Brahms, Handel Variations.  But I paid
>a premium price for tickets to Perahia on the basis of his being one of the
>giants of the keyboard;  I'm a little hesitant about paying the same price
>for someone unfamiliar, prize-winner or no.

>	Thanks in advance.

>-- 
>Rick Kint				UNIX Geek, College of Engineering
>kint@engr.washington.edu		University of Washington, Seattle


Mr. Pratt played this exact same program here in Illinois early last fall.  
I was VERY impressed with his performance.  He certainly posesses the 
requisite technique necessary to bring off such a demanding program, and his 
interpretations were wonderful.  To my ears, his playing was truly inspired 
and shed new light on each of these masterpieces.  His performance of the 
fugue in Op. 110 was marvelous.  (BTW, several pianist friends of mine also 
attended the recital, and they all thought his playing was extremely fine).  
Murray's shoes are tough to fill, but I'd say to give Mr. Pratt a chance.  If 
his performance in Seattle is on the level of the one I saw in Illinois, you 
may just be astounded.

Rick Korkosz
korkosz@uicsl.csl.uiuc.edu
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Public Service Announcement
Date: 26 Jan 1993 12:25:56 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Steve Apter (apter@fid.morgan.com) wrote:
: by fingernails alone.  My girlfriend, who is "at home" in a world
: apparently populated mostly by shoplifters and kleptomaniacs,
: suggested dabbing the residue with a paper towel containing a few
: drops of lighter fluid.  Jeepers, as they are wont to say over on 
: rec.arts.books, off it came, clean as a whistle.  I have since
: discovered that this home remedy works quite well on all sorts of
: gummed labels blasphemously affixed to book jackets and magazines.

Here at the navel of the universe, (Perth, Western Australia) we use 
Eucalyptus Oil (well, we'd have to, wouldn't we?). It works very well, 
and clears the sinuses and the same time.