HDTenEightyP/NetNews huggingface dataset:
From: raj@cs.bu.edu (Rajagopalan)
Newsgroups: rec.music.indian.classical
Subject: "balakanakmaya" (was Re: Lyrics, please)
Keywords: carnatic music, atana, lyrics
Date: 6 Nov 92 21:50:50 GMT
Organization: Boston University

In article <1992Nov6.210622.5692@tandem.com>, raj@tandem.com (Raj Ganesan) writes:
>            (anupallavi)
>Bala Kanakamaya sela sujana pari baala sri rama /    ...

              (charanam)
>Ra Ra devaathi devaa
>ra ra maghaanu bhava
>ra ra ra jeeva netra
>raghuvara putra

>/Raj

IMHO, the first line of the charanam is one of the best lines that tyagaraja has
ever composed. i dont know of any more brilliant usage of the atana ragam than 
for this phrase and in general i cannot think of a better novel "idea" that 
tyagaraja had in his compositions with respect to the appropriateness of the 
melody for the lyrics. a friend once proclaimed that if such a thing as "swarga" 
exists and if he got to go there then he would surely try to meet mr. tyagaraja 
there and shake his hand for "raa raa devaadi devaa...". 

rajagopalan
From: vidya@nntp-server.caltech.edu.ogi.edu
Newsgroups: rec.music.indian.classical
Subject: Re: Mutthiah Bhagavatar
Date: 9 Nov 92 21:12:51 GMT
Article-I.D.: gap.1dmk8jINNn94
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: pooh.caltech.edu
Originator: vidya@pooh

In article <BxGK6A.I1L@news.iastate.edu> tmohan@iastate.edu (Thyagarajan  
Mohan) writes:
if I'm not mistaken,there
- is a song of Swathi ThirunaaL in the raga Valaj(not Kalaavathi) which is 
- unduoubtedly Muthiah Bhagavtthar's creation.Can any person clarify this  
point?
- (Pleeeease,no fumes).This is the reason,mainly for my personal  
clarification,
- I wrote the above lines.
- 
- 

The most probable reason is this. The Travancore royal family commissioned  
Muthiah Bhagavatar to set Swati's kritis to music. What was available was  
palm leaf manuscript bundles with the lyrics. These were all attributed to  
Swati Tirunal and the ragas and talas were chosen by Muthiah Bhagavathar  
and later Semmangudi.  

Interestingly this led to the controversy whether all the songs that were  
popularised were indeed Swati's or not. Some famous varnams now attributed  
to Swati have also been claimed by the descendants of the Tanjore Quartet  
to be their compositions. A book published by K.P. Sivanandam, the Veena  
artiste and K.P. Kittappa, the dance guru, claims the Ata tala varnams in  
Kambhoji (Sarasijanabha) and Sankarabharanam (Chalamela) to be the  
compositions of one of the Tanjore Quartet. S. Balachander took up this  
matter with Semmangudi and Madras Music Academy etc.. But that is another  
story!

S.Vidyasankar
From: akumar@pollux.usc.edu (Anant Kumar)
Newsgroups: rec.music.indian.classical
Subject: Re: For Rajiv Sud at stratus.com: The mail bounces
Date: 6 Nov 1992 14:55:28 -0800
Organization: University of Southern California, Los Angeles, CA
Distribution: usa
NNTP-Posting-Host: pollux.usc.edu


>I had the same problem. 
>Rajiv, I would like to know if they are CDs or vinyls...
	Ditto!
Also, what labels are they? I mean Music India/ Nimbus......

-anant
Newsgroups: rec.music.indian.classical
From: jcampana@epas.utoronto.ca (John Campana)
Subject: Dagar Bros.
Organization: University of Toronto - EPAS
Date: Sun, 8 Nov 1992 23:08:44 GMT

Coild someone please confirm for me if it was Faiyazuddin and not
Zahiruddin who died a few years back? If so, when exactly? Thanks in advance.

John Campana
Newsgroups: rec.music.indian.classical
From: pjn+@cs.cmu.edu (P J Narayanan)
Subject: Re: more info please
Followup-To: rec.music.indian.classical
Keywords: Deepakam, Jyothiswaroopini
Organization: School of Computer Science, Carnegie Mellon
Date: Sat, 7 Nov 1992 16:44:26 GMT

>I have another (this time a rather burning topic, as it were) question
>re rag Dipak. I was told of the existence of a cognate in the Carnatic
>system. Firstly, is this rag (the Purvi Thath version) ever performed
>in the South?

I have heard of a raga called dIpakam in Carnatic music, but haven't
the foggiest idea about its lakshaNam. I am sure Krishna will have
it. Needless to say, I haven't heard it performed.

There is a story of someone (Thyagaraja ?) lighting up a lamp with
JyOtiswarUpiNi, the 63rd mElakartA rAga. JyOtiswarUpiNi uses the
flat dha; other notes are same as PUrvi That. Being a mElakartA rAga,
it is performed occasionally.

PJN

-- 
---
Robotics Institute, CMU			pjn@cs.cmu.edu
Pittsburgh, PA 15213
---
Newsgroups: rec.music.indian.classical
From: tmohan@iastate.edu (Thyagarajan Mohan)
Subject: Re: Violin Accompaniment correction
Organization: Iowa State University, Ames, IA
Distribution: na
Date: Tue, 10 Nov 1992 19:09:38 GMT

In article <10NOV199210132233@ctrvx1.vanderbilt.edu> vijayas@ctrvx1.vanderbilt.edu (VIJAYAS) writes:
>A typo in my earlier posting regarding violin accompaniment. The bowed
>instrument of ancient India is not Ravanastram. The correct name is 
>Ravanastran. Sorry for the typo.
>Vijaya.
>
      Lalgudi Jayaraman revealed this information in a Lec.Dem during Music
Festival in early 80's.Soon after that there was a comment by a Music Fan
about his experience with a begger in North India(in the train) who was
playing an instrument resembling Violin,but he called as `RaavaNastra'.Can
anybody give more information on this?

      In my article on Venkatamahi,by mistake,I interchanged the Raga Poorvi 
KalyaaNi with Gamakakriya as indicated by Vidhya.Though there are many more
ragas having two names,I'm not sure which is the older version.Can somebody
throw more light on these?Some examples are :

   Udhaya Ravichandhrika(Sudhdha Dhanyaasi)
   Daeva Amritha VarshiNi(Naaga ChinthaamaNi)
   AandhoeLika(Mayooradhvani)
   Maandu(Rangapriya)
   Sindhu Kannada(Kaesari)


Thanks in Advance

MOHAN
From: ramakris@yoko.rutgers.edu (Babu Ramakrishnan)
Newsgroups: rec.music.indian.classical
Subject: Varnams
Keywords: Carnatic
Date: 9 Nov 92 20:02:10 GMT
Organization: Rutgers Univ., New Brunswick, N.J.


Hi:
     Could someone please give me info about book(s) which have only
 Varnams (or lots of them, in many different raagams) in full notation
so that one could learn to sing these varnams. The elementary books
for leaaning music have only a few varnams like viriboni, etc..
                                         Babu Ramakrishnan
Newsgroups: rec.music.indian.classical
From: tmohan@iastate.edu (Thyagarajan Mohan)
Subject: Re: Mutthiah Bhagavatar
Organization: Iowa State University, Ames, IA
Distribution: usa
Date: Sat, 7 Nov 1992 17:23:00 GMT

In article <Bx9tKJ.BBB@beach.csulb.edu> vishwa@beach.csulb.edu (Viswanath Nanjundiah) writes:
>Thanks a lot for answering my earlier questions. I would like to know 
>the time, place etc of Shri.Mutthiah Bhagavatar. (I believe he is the
>composer of "Himagiri tanaye", "Jaalandara", "Sudhaamayee"... Correct me
>please if I am wrong). Could someone please post an article on him.
>Thank you very much.
>vishwa


     Let me try to give the information about him as much I can.Sri.Muthiah 
Bagavathar was born in the town Harikaesanallore in Tamil Nadu.(Thirunelveli 
District!).As the name indicates,he was famous for his Musical Discourse.He was
one of the Greatest Composers of this century.He was a contemporary of Maharaja 
Swathi ThirunaaL.Because of his Music Knowledge,he was adsorning the court of 
Mysore Chamaraja Udaiyaar.Therefore he has sung some songs over his Family Deity
Lordess Chaamundaeswari(His Varnam `Sri Raja Maadhandgi' in `Sudhdha Danyaasi',
`Saarasamukhi'in Gauda Malhar).He spent his later time i the city of Madurai
wher he polished some deciples,Madurai Mani Iyer and Sankara Sivam(Guru of T.N.
Sesha Gopalan).
    He has to his credit about 200 songs and 23 ragas.The famous creations are
the raga Valaj(now discussed with Kalaavathi),Gauda Malhaar & Neeroeshta(The
lips don't touch in the song `Raaja Raaja Raajitahae').I guess even Umaa Baranam
is his creation. Some of his `Chittai Swaras' do carry meanings(What 
Dr.Balamurali does nowadays).His songs are notorious for its `Jandai' and `Dhadu
Swaras,(the style of Madurai Mani Iyer) and `Sarva Lagu'(Even split of the 
tempo).The carry his `Mudhra', `Harikaesa'.He gets the credit of the First 
person in Carnatic Music to get the Honarary Doctorate Degree and the `Sangeetha
Kalanidhi' award of Music Academy in Madras.
    Some additional information may be added on to this article.Thanks a lot.

MOHAN



Newsgroups: rec.music.indian.classical
From: sriram@IASTATE.EDU (Sriram Devanathan)
Subject: Re: Mutthiah Bhagavatar
Reply-To: sriram@IASTATE.EDU (Sriram Devanathan)
Organization: Iowa State University
Distribution: usa
Date: Sun, 8 Nov 1992 17:39:13 GMT

The other song 'Sudhamayee' is set to the raag amritavarshini. BTW, GNB's
Himagiri Thanaye is very good too.

Sriram
From: dharam@wpi.WPI.EDU (Dharmendra Khanolkar)
Newsgroups: rec.music.indian.classical
Subject: Re: For Rajiv Sud at stratus.com: The mail bounces
Date: 6 Nov 1992 22:28:04 GMT
Organization: Worcester Polytechnic Institute
Distribution: usa
NNTP-Posting-Host: wpi.wpi.edu

I had the same problem. 

Rajiv, I would like to know if they are CDs or vinyls...

Do let me know..

Tis urgent...!!

We have an Indian Festival coming up here @ WPI.

My addr : dharam@wpi.wpi.edu


-- 
Bye now...

--Dhamu
Newsgroups: rec.music.classical
From: ssteigma@scott.skidmore.edu (Stephen H. Steigman)
Subject: Re: Any Classical Music Suggestions
Organization: Skidmore College, Saratoga Springs NY
Distribution: rec
Date: Tue, 10 Nov 1992 06:11:30 GMT

Read this month's FAQ.....that will give you plenty of ideas!

May I warn you though...once you start hearing those popular pieces
played in commercials, you'll get sick of the pieces (i.e. Eine
Kline Nachtmusik, William Tell Overture, Pachabel's Canon in D, etc.)

Welcome to the wild wild West!  (we've got the nicest composers and
performers you'll ever find anywhere....)

Regards,

Stephen
-- 
=====================================================
Stephen H. Steigman   INTERNET: ssteigma@skidmore.edu
Skidmore College      VOICE:    (518) 581-6111 
Saratoga Springs NY		
Newsgroups: rec.music.classical
From: dmarti@dsy-srv3.cern.ch (Marti Didier /ECP/PES)
Subject: Re: Messiaen on Organ (was Re: Messeian re
Reply-To: dmarti@dsy-srv3.cern.ch
Organization: CERN - European Laboratory for Particle Physics
Date: Mon, 9 Nov 1992 10:55:30 GMT

No! He was actually the main organist at the Church "La Trinite", in Paris.

Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: It's in the wrists.
Organization: Camex Inc., Boston MA
Date: Mon, 09 Nov 1992 13:14:03 EST

In article <101095@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:

>     Anyways, is there any great piano composer/virtuoso who had
>hands the size of mine or smaller?  (I'm looking for insipiration! :)

I think I read somewhere that Mozart had small hands when he was a child.
He did OK.  

What's your dad do for a living?

%^)

Chris Ischay
chrisi@camex.com
Newsgroups: rec.music.classical
From: jmwobus@newstand.syr.edu (John M. Wobus)
Subject: Re: It's in the wrists.
Distribution: usa
Date: Tue, 10 Nov 92 12:33:15 EST

In article <1992Nov9.071240.2670@EE.Stanford.EDU>, jon@playfair.Stanford.EDU (Jon Buckheit) writes:
|> In article <101095@bu.edu>, spacefox@acs.bu.edu (Godfrey Degamo) writes:
|> |> 
|> |>      Well, I tried playing some Chopin when I realized that my hands
|> |> were a bit small for some of the chords in his music!  I hate that!
|> |> Anyways, I heard that Chopin had big hands, that Rachmaninoff had
|> |> big hands, and that Liszt had real huge hands.
|> |>      I believe someone told me that Liszt's could span 12 keys with
|> |> his hand.  I can only span with great difficulty, 10. -with real
|> |> great difficulty.  Actually, its practically only 9 keys. *sniff*
|> |> 
|> |>      Anyways, is there any great piano composer/virtuoso who had
|> |> hands the size of mine or smaller?  (I'm looking for insipiration! :)
|> |> 
|> |> 
|> |> Well, hopefully this isn't a dumb question, if it is, sorry I posted it.
|> |> 
|> |>                              -G. Degamo,
|> |>                               spacefox@acs.bu.edu
|> 
|> Certainly.  Josef Hoffman had smaller hands than yours, and I believe
|> even had a special Steinway made with a smaller keyboard.  As for pianists
|> playing today, Alicia de Larrocha...

I seem to recall hearing the Chopin had small hands.  Is my memory totally shot?

John Wobus
Syracuse University
Newsgroups: rec.music.classical
From: hcresnic@quads.uchicago.edu (hugh carney resnick)
Subject: BRAHMS
Reply-To: hcresnic@midway.uchicago.edu
Organization: University of Chicago Computing Organizations
Date: Thu, 12 Nov 1992 18:17:37 GMT


Well, I'm a minority voice here, but Brahms a cappella choral music is 
something _I_ die for. I know that they're not major works in the sense 
that the Violin Concerto or the German Requiem is, but they do show on
a more immediately apparent level what a craftsman Brahms was. And, no,
thy're not just nice from a craft point of view, but they're also wonder-
ful to listen to.

SATB Motets

"Schaffe in mir, Gott, ein Rein Herz"
"Warum ist das Licht gegeben dem Mu"seligen"

There are also lost of women's choral pieces. Brahms was a director of a
women's chorus for a number of years....

-- 
___________________________________________________________________
	  Hugh C. Resnick (hcresnic@midway.uchicago.edu)
"Mother, please, is it just a disease?" - Moribund the Burgermeister
___________________________________________________________________
Newsgroups: rec.music.classical
From: bili6745@mach1.wlu.ca (bilinsky keith)
Subject: Re: help
Organization: Wilfrid Laurier University
Date: Fri, 6 Nov 1992 15:47:47 GMT

In article <910394f.33.720918775@ace.acadiau.ca> 910394f@ace.acadiau.ca (JAMES LEON FALCONE) writes:
>Someone please help me!
>I have to play the posthorn solo from Mahler 3 and I would like to hear a 
>recording of it first. I know it isn't necissary to hear something to play 
>it but it helps. Anyway, every single recording I have heard of the post 
>horn solo is poorly played and out of tune.  A good recording would be 
>helpful!
>Jamie Falcone Acadia Music

 I've ALWAYS found it a MUST to listen orchestral pieces before playing
them, you can always disregard what you heard if your conductor wants
somthing different but if you don't know the work before you play it you can
wind up play 12th triangle off-stage in the next concert.... 8-)

Keith 

Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (Stephen Smoliar)
Subject: Re: Gramophone 1992 Awards
Reply-To: smoliar@iss.nus.sg (Stephen Smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Sat, 7 Nov 1992 23:10:29 GMT

In article <1992Nov6.184728.11506@news.acns.nwu.edu> ssc@nwu.edu (Steven Chung)
writes:
>In article <1992Nov5.225814.4196@nuscc.nus.sg> smoliar@iss.nus.sg (stephen
>smoliar) writes:
># In article <hal.14.720975131@radio.wkar.msu.edu> hal@radio.wkar.msu.edu (Hal
># Prentice) writes:
># >
># >Best Historic Non Vocal Recording -
># >Elgar Edition Vol 1 - Elgar conducting (EMI mono CDS7 54560-2)
># >
># Can anyone post what is on this disc?  I have the recording of Elgar
># conducting
># the violin and cello concertos, but that is part of their Great Recordings
># of
># the Century series.  This is the first I have heard of the Elgar Edition.
>
>According to the ad in November's Gramophone, volume 1 has the two
>symphonies, Falstaff, The Dream of Gerontius, The Music Makers (excerpts)
>and includes 'the whole of the Second Symphony rehearsal take and both
>versions of the Rondo.'

That "excerpts" qualifier applies to ALL the compositions listed, doesn't it?
I have the Opal vinyl of Elgar conducting GERONTIUS.  There are only eight
excerpts, so it all fits on a single vinyl disk.  As you might imagine, the
sound quality is far from ideal;  but the experience of hearing Elgar shape
this music is not to be missed, even if it is only available through fragments.
If archeologists have managed to come up with a COMPLETE performance, that,
alone would justify the purchase of Volume 1.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical
From: AC12@vm.acs.unt.edu (Dr. Philip Baczewski)
Subject: Re: Perfect Pitch Ability - Questions
Organization: University of North Texas
Date: Fri, 13 Nov 1992 16:36:07 GMT

In article <BxM8Ex.FI7@javelin.sim.es.com>
RSPEIRS@130.187.170.178 (RON SPEIRS) writes:
 
>
>I hope that this newsgroup is appropriate for this question.
>I have always been interested in the ability called "Perfect Pitch".  As I
>understand it, it is the ability of a person to recognize and identify a
>note of the 12-tone scale, and to reproduce by humming or singing any note
>of the scale.  Related to this, "Relative Pitch" ability would be the ability
>of a person to recognize intervals and chords, and to hum or sing intervals
>correctly.
>
>Has anyone published any research on this subject?  My specific questions are:
 
There has been quite a bit of research in this area.  If you are interested,
go to the nearest University library and check Music Index or a Psychology
periodicals index for the topic "Absolute Pitch."  Some Journals to search
are Music Perception, Psychomusicology, Journal of the Acoustical Society
of America, Perception and Psychophysics....
 
>1.  Is this ability always innate (people born with it)?
Probably.
>2.  Can it be learned later in life?
Probably not, however, it is possible to develop a good sense of
relative pitch.
>3.  What percentage of the population has this ability?
Don't know, off hand.
>4.  Is it heriditary?  Is it a product of the environment?
Probably both.
>5.  If a person has this ability, is it ever lost later in life?
I'm not sure it is lost, however, I've heard of cases where it has degraded.
(gone flat, etc.)
>6.  If a person is "tone-deaf" (common term for a person who can't sing
>    intervals correctly or recognize tones), can this person develop relative
>    or perfect pitch ability?
 
Anecdotal comment:  My spouse, who once was a Suzuki violin teacher, started
a 5-year old girl on violin whose mother was "tone deaf."  The girl at age
5 could not sing more than a monotone, however, after about 2 or 3 years
she started to be able to carry a tune.  Her sister, who was 2 when the
older one started, would come to lessons and also reaped the benefit of
the "listening activity" that goes with the Suzuki method.  By the time
she was 4 and starting her own lessons, she could sing rings around her
sister.  There seems to be a period in early childhood which is crucial
in musical development, and I believe there is some literature which addresses
this.  (After 5 years of lessons, however, the MOTHER still couldn't carry
a tune. :)
 
I've done a small amount of research related to Absolute Pitch (AP) and found
that Professional Musicians with Absolute Pitch seem to employ differing
cognitive strategies when listening to and transcribing a Mozart duet than
do comparably skilled musicians without AP.  There are still many questions
about AP, however, which remain to be answered.
 
Philip Baczewski, D.M.A., Assistant Director
Academic Computing Services                    BITNET: AC12@UNTVM1
University of North Texas                    Internet: ac12@vm.acs.unt.edu
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Cage's 4'33"
Date: 12 Nov 92 19:49:10 GMT
Reply-To: chem91@Elroy.UH.EDU
Distribution: usa
Organization: University of Houston

[...]
>sit quietly, hands at their side. The Hat art recording consists of 4' 33"
>of rather horrible electronic noise. The rest of the pieces on the CD are
>great, but the 4" 33" makes me want to rip my ears off.
>
>
>Barry Grant
>Northwestern Univesity
>Evanston, Illinois
>b-grant@nwu.edu

There's another recording of 4'33" on the Hungaraton label (the ensemble 
is the Amanda (sp??) Percussion Group).  This 4'33" consists of "background"
noises -- I recall the 1st movement is sounds from the countryside etc... 

Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Berlioz
Date: 11 Nov 1992 17:03 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

From: dstrait@telesciences.com (Darin Strait)

>Can someone recommend a CD pressing of Berlioz's Symphonie Phantastique (sp?)
>that I can find in the local Tower Records?

>I am a novice at classical music, and would have grabbed the Telarc disc
>with the Baltimore (?) Philharmonic, but I am unfamiliar with their reputation.

>Thanks in advance.
>dms

 I have the Colin Davis recording (part of his complete survey of the
orchestral music) - a fine performance. However, I noticed a cd in
Tower with Sir Thomas Beecham conducting the Symphonie Fantastique
(with the King Lear overture & another piece). Beecham had an affinity
with French music (and a flare for the dramatic) - his account of the Berlioz 
Te Deum is magnificent - so that may be worth investigating if you
don't mind an older (c. 1950s) performance. 

 Neill Reid - inr@eccles.caltech.edu
From: ssc@nwu.edu (Steven Chung)
Newsgroups: rec.music.classical
Subject: Re: Tchaikovsky's Paino Concerto No. 1
Date: 12 Nov 92 16:50:29 GMT
Organization: Northwestern University, Evanston Illinois.
Originator: schung@casbah.acns.nwu.edu

In article <11NOV199217183020@eccles.caltech.edu> inr@eccles.caltech.edu (I. Neill Reid) writes:
# 
#  No question - the most exciting recording is the Toscanini/Horowitz
# version recorded at Carnegie Hall during WW II (1944?) as a benefit
# for war bonds. The sound quality is reasonable - given when and how it was
# recorded - but the atmosphere is electric (and Horowitz' playing of the
# cadenza in the third movement is amazing). There are other recordings that
# are technically better - both the recording and (note for note) performance -
# (Gilels, for example) but if it's excitement you want, this is the recording. 
# It's on an RCA disk with a Reiner(?I think)/Horowitz performance of 
# Beethoven's 5th Concerto - a reasonable performance, but nothing special.
# The work must also be included somewhere in the RCA Toscanini edition, but
# note that Toscanini & Horowitz made two recordings of this concerto - the later
# recording doesn't have the same fire. 

You mean, the earlier recording.  The studio recording was from 1941, the
live recording (the better one) from 1943.  The live one has been
rereleased in the Toscanini Edition, coupled with Horowitz's live (1951)
account of Mussorgsky's 'Pictures.'  Definitely a must hear.

Still, if the original poster was concerned about sound quality, the
Tchaikovsky recording is barely adequate.  The piano sound is decent, but
the orchestra sounds prety bad.  And there's a bit of crackle. In terms of
'intensity,' however, this is the only one.
Newsgroups: rec.music.classical