HDTenEightyP/NetNews huggingface dataset:
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Re: Considering 4'33''
Organization: University of Virginia
Date: Tue, 17 Nov 1992 17:06:02 GMT

In article <1eb333INNes8@MINERVA.CIS.YALE.EDU> ronthal-adam@yale.edu (Adam Ronthal) writes:
>In article <1992Nov17.133512.21761@murdoch.acc.Virginia.EDU> rwd4f@poe.acc.Virginia.EDU (Rob Dobson) writes:
>>> ronthal-adam@yale.edu (Adam Ronthal) writes:
>>>I think John Cage was a poser.  Go ahead, flame me,

>>Cant resist an open invitation like that. Whether or not you think he has
>>'real' talent, how many people will be discussing Adam Ronthal on a worldwide
>>network months after your death? 

>	That simply isn't the point.  Yes, I too could waste my time and 
>everybody elses by playing with a bunch of cheap radios and make plenty
>of waves.  I still wouldn't have any talent, but people would no doubt think
>it was really really cool, and discuss it for months, if not years after my
>death.  It wouldn't change tha fact that the noise I wrote was complete
>foolishness.
>

NO, NO, NO. People would think you were just ripping off john cage, and
write you off. As Cage himself said, "Sure, anyone could write music
like this, but THEY DONT". Plus, I doubt you would leave us such a
large corpus of essays on music, art, dance, and aesthetics as Cage has.

R


Newsgroups: rec.music.classical
From: bamn@venus.ycc.yale.edu
Subject: Re: Rachmaninoff's cello or 2nd?
Organization: Yale Computer Center (YCC)
Date: 18 Nov 92 18:48:57 EDT

In article <BxxGoz.884.1@cs.cmu.edu>, acid+@cs.cmu.edu (Christopher Colby) writes:
> In article <1992Nov17.222353.60974@cc.usu.edu> slj1k@cc.usu.edu writes:
>>I'm torn between purshasing a Rachmaninoff CD containing his 2nd Symphony and
>>the Vocalise, and one with his cello sonatas with the Volcalise.
>>
>>Any suggestions (and please don't say both, I'm poor)
> 
> Oh, you're far more hip if you go with the cello sonatas.
> 
> -chris
> 
> P.S.: Seriously, which recordings are these?
i have the coupling of 2nd symphony and vocalise conducted by
andrew litton.  EXCELLENT! i recommend it without hesitation
its on Virgo (i think) and the recording engineers have done and awesome job
naren
chemical engineering
yale university
Newsgroups: rec.music.classical,rec.music.makers
From: sse@wind.bellcore.com (Samuel S Epstein)
Subject: seek advice on Kawai piano
Reply-To: sse@wind.bellcore.com (Samuel S Epstein)
Organization: Bellcore, Morristown, NJ
Date: Mon, 16 Nov 92 19:10:06 GMT


My ex-wife has just about decided on a new Kawai KG1 (?) 5 foot 1 inch
grand piano for our son. He's a serious student who needs a good practice
piano. Our budget is limited and it's understood that we're not going to
get a concert-quality instrument. Our son thinks the piano is adequate
for practice. Our search coincided with a sale at Altenburg of Elizabeth,
NJ. We can buy the piano for $5500, which is half list price.

Is this a good piano for the money? Is it good enough to practice on? My
ex-wife has an unfavorable impression of Altenburg from visiting the store
and from word-of-mouth. Is this a dealer to avoid?

Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Music to calm down by
Organization: UCLA Mathematics Department
Date: Fri, 20 Nov 92 00:19:07 GMT

In article <3344@voodoo.UUCP> das@voodoo.boeing.com (Deb Schwartz) writes:
>At work these days, I seem to be in a constant state of stress, and have
>been thinking that some soothing music might help greatly.  I love classical
>music, but don't have a whole lot of exposure to it.  I would greatly
>appreciate recommendations for music that has a calming effect.
>
>Thank you,
>

I think my reply went down a plughole somewhere. Here it is again
just in case

As an Englishman may I recommend the composer Vaughan Williams.

Some good pieces are Symphonies #3, #5, the Lark Ascending and
Fantasia on a theme of Tallis. There are the occasional surges but
otherwise this is the most soothing, calm music I know.

Someone else suggested Delius which is also a good idea. Lots of
string writing is what does it.

New Age stuff is very relaxing. I use it as a cure for my insomnia !

David


--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
From: ronthal-adam@yale.edu (Adam Ronthal)
Newsgroups: rec.music.classical
Subject: Re: Considering 4'33''
Date: 17 Nov 1992 10:28:35 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu

In article <1992Nov17.133512.21761@murdoch.acc.Virginia.EDU> rwd4f@poe.acc.Virginia.EDU (Rob Dobson) writes:
>> ronthal-adam@yale.edu (Adam Ronthal) writes:
>>I think John Cage was a poser.  Go ahead, flame me,
>                                           ^^^^^^^^
>>but you'll never 
>>convince me that he had any real talent.
>>
>
>Cant resist an open invitation like that. Whether or not you think he has
>'real' talent, how many people will be discussing Adam Ronthal on a worldwide
>network months after your death? 
>
>

Rob, Rob, Rob...
	That simply isn't the point.  Yes, I too could waste my time and 
everybody elses by playing with a bunch of cheap radios and make plenty
of waves.  I still wouldn't have any talent, but people would no doubt think
it was really really cool, and discuss it for months, if not years after my
death.  It wouldn't change tha fact that the noise I wrote was complete
foolishness.

Adam

P.S.  Thanks for the flame. ;)

-- 
   /|\  /|~\   Adam M. Ronthal BR'94    |    ronthal-adam@yale.edu	
  /-| \/ |_/   P.O. Box 607 Yale Stn.   |    ronthal@minerva.cis.yale.edu
 /  |    | \   New Haven, CT   06520    |    ronthal@pop.cis.yale.edu

Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: Speaking of the Solti Ring...
Organization: Indiana University
Date: Tue, 17 Nov 1992 01:29:34 GMT

In article <1992Nov16.201323.3311@visual.com> rwh@visual.com (Rob Holzel) writes:
>
>
>
>I know there was some noise about the fact the Parsifal is NOT the
>glorious Knappertsbusch, but a vastly inferior one... I don't remember,
>but I think it was the Boulez also.  


I believe the PARSIFAL on this so-called Bayreuth
edition is conducted by James Levine. Certainly not
the premier choice from Bayreuth. It may even not be
the best/only Levine commercial recording much
longer...
watch his DG PARSIFAL coming soon with Domingo, 
Norman and Sotin/Moll(?)!
 
In case my memory is not serving me quite right, a
recent (last month's) issue of Gramophone lists all the
releases of this series with accompanying reviews.


>
>Also, isn't the Solti "Ring" itself available more cheaply now? 
>

The full Solti cycle is available on Decca in England
at mid-price...but you have to pay in pounds. I don't
think it is available at less than full price in this
country, yet. However you can buy them individually at
half the list price through the BMG cd club. Or wait
for the BIG sale at your neighbourhood Wagner dealer!

			Sami Mitra
From: tait@cs.columbia.edu (Carl Tait)
Newsgroups: rec.music.classical
Subject: Re: Tchaikovsky's Piano Concerto No. 1
Date: 19 Nov 92 09:40:26 GMT
Organization: Columbia University Department of Computer Science

In article <1992Nov16.193945.2898@visual.com>
rwh@visual.com (Rob Holzel) writes:
>
>Martha Argerich with Dutoit on DG.  I'm kinda surprised this hasn't been
>mentioned yet.  Last time this question came up, it prevailed as the
>best in a wide field of contenders.

While this is probably the best version made in the last 30 years
(and is coupled with the finest Prokofiev Third available), there
are two classic recordings that shouldn't be overlooked.  Both are
now available on CD.

Cliburn/Kondrashin (1958, RCA): No mere "competition winner" performance!
Still the best-selling classical record of all time (I think), and with
good reason.  Powerful, passionate playing, and Cliburn's no-nonsense
approach contrasts sharply with the soupy romanticism of many performances.

Horowitz/Toscanini (1943 live, RCA): Like Horowitz' Rachmaninoff Third with 
Reiner, this is not a version for the timid.  See how many times you have
to listen to the octave passage near the end before you believe that any
human being could play like that.  (The recorded sound is surprisingly
good for the period.)

Carl Tait
Newsgroups: rec.music.classical
From: lrozend@cs.vu.nl (Rozendaal L)
Subject: Re: Soler sonatas:reccomendations?
Organization: Fac. Wiskunde & Informatica, VU, Amsterdam
Date: Tue, 17 Nov 1992 12:07:08 GMT

ransoff@guvax.acc.georgetown.edu writes:
: I would appreciate any reccomendadtions you may have for CD recordings 
: of the sonatas of Antonio Soler. I have located one series of CD's 
: featuring Bob Van Aspen on the Astree label, and would welcome opinions 
                    ^^^^^
          that should be Asperen
: about these recordings. Many thanks.
: 
: 
: Rick Ansoff
: Internet RANSOFF@GUVAX.GEORGETOWN.EDU
: 

I don't know these CD's, but I admire van Asperen enough to recommend his
recordings without having heard them.
Thank's for the suggestion, I might want them myself. Enjoy!

--
Rhesa Rozendaal

--
lrozend@cs.vu.nl
Faculteit Wiskunde & Informatica, Vrije Universiteit Amsterdam.
--

Newsgroups: rec.music.classical
From: art30248@nusunix1.nus.sg (NG LING LING)
Subject: More Haydn
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 16 Nov 1992 02:26:25 GMT


Just wondering, has anyone actually heard the Dorati and the Hungarian
players (or whatever they were called) do the Haydn cycle ?

If so (or if anyone heard bits or individual symphonies)
 
1.  What was the size (roughly) of the group ? Esp. the strings.

2.  Did they turn on the vibrato ?

3.  Do they slam on the brakes (ritardando) at the end of pieces ?

I thought these are interesting esp. now that I'm listening to a lot of
scholars conducting "period-style" performance.

One other interesting question:
I've never really seen many Period groups (Tafelmusik, London Classical
Players, Academy of Ancient Music, English Baroque Soloists, Taverner
Players, Hanover Band, 18th C Orchestra, La Petite Band) esp. those who
have conductors...do these conductors use the baton ?

I know (from photos) Frans Bruggen and Roger Norrington don't. 

Any music historians out there know if Haydn used a baton ?

Why don't you e-mail me and spare those who don't want to bother reading
this.

Thanks in advance for any replies.
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.classical
Subject: Batons in period orchestras (was Re: More Haydn)
Date: 16 Nov 1992 19:39:12 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

In article 20883@nuscc.nus.sg, art30248@nusunix1.nus.sg (NG LING LING) writes:
>I've never really seen many Period groups (Tafelmusik, London Classical
>Players, Academy of Ancient Music, English Baroque Soloists, Taverner
>Players, Hanover Band, 18th C Orchestra, La Petite Band) esp. those who
>have conductors...do these conductors use the baton ?
>
>I know (from photos) Frans Bruggen and Roger Norrington don't. 
>
>Any music historians out there know if Haydn used a baton ?
>
>Why don't you e-mail me and spare those who don't want to bother reading
>this.
>
>Thanks in advance for any replies.
>
>  

I don't recall ever seeing the conductor of the Bay Area's Philharmonia 
Baroque Orchestra using a baton.  I don't imagine he would for most works;
the stick would get in the way of his playing harpsichord continuo while
he conducts.  

--James Langdell       jamesc@eng.sun.com
  Sun Microsystems     Mountain View, Calif.




Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Tuba
Followup-To: rec.music.classical
Reply-To: dbrooks@osf.org (David Brooks)
Organization: Open Software Foundation
Date: Wed, 18 Nov 1992 22:36:47 GMT


As well as that well-known weirdo RVW (he *could* be a little strange at
times), Derek Bourgeois has written a Bass-tuba concerto.  John White wrote
a symphony for organ and 6 tubas (I don't know if the organ part called for
the Tuba stop) and Walter Hartman wrote a Tuba sonata, op. 76.

I'm surprised there aren't more; the tuba is a surprisingly agile and
melodious instrument.  See, for example, the development section of the
Meistersinger overture.
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Allberall und ewig blauen licht die Fernen!  Ewig... ewig... earwig... O!
Newsgroups: rec.music.classical
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: Re: The worst composer ever
Organization: The Communications Research Centre
Date: Mon, 23 Nov 92 05:35:18 GMT

In article <2B10312C.807@news.service.uci.edu> jdooley@maemaster.eng.uci.edu (John R. Dooley) writes:
>In article <1992Nov22.192236.3614@dgbt.doc.ca> ted@dgbt.doc.ca (Ted Grusec) writes:
>>In article <1992Nov22.170643.16338@syma.sussex.ac.uk> sfue5@syma.sussex.ac.uk (Andrew Richards) writes:
>>>From article <g8FkuB7w165w@student.business.uwo.ca>, by r4smith@student.business.uwo.ca (Richard Smith):



>>I nominate Philip Glass.  Yet his background score for the movie "A
>>Brief History of Time" worked perfectly, and, perhaps no other
>>composer could have written an equally effective score.
>
>Unfortunately, I didn't get a chance to see this.  I used to like
>to belittle Phillip Glass too.  But, when I saw "The Thin Blue 
>Line", I realized he was capable of writing a terrific film
>score.  I'm not sure how well it stands up on it's own but the 
>music fit perfectly into the context of the film.  And, I'd say
>that's no minor achievement.

Yes, an excellent achievement.  In the case of "A brief History of
Time", the context is the whole thing.  Isolated from the film, the
music is as rejectable as the rest of Glass.>
>John D.  
>
>PostScript:  Of course, there are no bad composers - 
>             just misunderstood composers.
>


-- 
-----------------------------------------------------------------
Ted Grusec - Communications Research Centre, Ottawa, Ont., Canada
Newsgroups: rec.music.classical
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: Re: RVW Tuba Concerto
Organization: The Ohio State University
Date: Wed, 18 Nov 1992 02:04:53 GMT

Concerning Ralph Vaughan Williams Tuba Concerto, it was recorded at least once
that I know of, with John Fletcher as soloist with the London Symphony 
Orchestra, Andre Previn conducting.  It was coupled with Symphony #5 and Three 
Portraits from The England of Elizabeth.  A very nice album with a good variety
of RVW works.  Some of you folks may flame Previn, but he does good RVW.  The 
album, BTW, is on an RCA cassette 6782-4-RG.  I don't know if it's still 
available or if it's ever been rereleased on CD.  If anyone knows, I'd be 
interested in hearing....
-- 
*>   Michael J. Valinis   -=+<*>+=-   mvalinis@magnus.acs.ohio-state.edu   <*
*>=>  "Music is your own experience, your thoughts, your wisdom. If you  <=<*
*>+>=> don't live it, it won't come out of your horn." -Charlie Parker <=<+<*
*>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<*
From: haynes@cats.ucsc.edu (Jim Haynes)
Newsgroups: rec.music.classical
Subject: Re: Blomstedt announces 1995 retirement from SF Symphony
Date: 20 Nov 92 05:49:36 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: hobbes.ucsc.edu


In article <01CTB7HP@cc.swarthmore.edu> rbrooks1@cc.swarthmore.edu (Rob Brooks) writes:
>Andre Previn back in California?  My, that would be surprising news.  I
>thought he'd had enough of the place when he left the LA Phil.

But LA and SF are not the same California...
-- 
haynes@cats.ucsc.edu
haynes@cats.bitnet

"Ya can argue all ya wanna, but it's dif'rent than it was!"
"No it aint!  But ya gotta know the territory!"
        Meredith Willson: "The Music Man"
From: "richard wyble" <richard.wyble@channel1.com>
Newsgroups: rec.music.classical
Subject: carmina burana
Date: 15 Nov 92 18:36:56 EST
Reply-To: "richard wyble" <richard.wyble@channel1.com>
Distribution: rec
Organization: Channel 1 Communications

DP |RANDELL WHALEY (b755zas@utarlg.uta.edu) wrote:
DP |: Does any person know where I can find the next two operas (on a CD) of
DP |: Orff's Trionfi trilogy.  I believe the titles are "Carmina Burana" (<--
DP |: --- got this one already) "Catulli Carmina", and "Trionfi de Afrodite"
DP |: Appreciate any help!

DP |The Catulli was recorded on DGG in the 70's, but hasn't (to my
DP |knowledge) made in to CD. It's pretty much more of the same.

The triptych is indeed entitled, "Trionfi," and consists of three parts; 
"Carmina Burana," "Catulli Carmina," and "Trionfo di Afrodite." To my 
knowledge, only the first part, Carmina Burana, has been released on CD, and 
this in several versions. I am not aware of CD performances of parts two and 
three.

In my opinion (probably not very humble, either), the finest recorded 
performances of these works were recorded by the Rundfunkchor und 
Rundfunk-Sinfonie-Orchester Leipzig, under the baton of Herbert Kegel, and 
released under the Philips label.

     Carmina Burana (Philips #9500-040), recorded in 1975.
     Catulli Carmina (Philips #6500-815), recorded in 1974.
     Trionfo di Afrodite (Philips #9500-150), recorded in 1976.

If anyone EVER learns of a CD release of these, please broadcast the news far 
and wide. The performances are vital, with a driving, demonic fury seldom 
heard in this music. NOTHING has quite measured up since having heard these 
performances.

Of related interest, equally well performed, was a 2-record set (Philips 
6700-083) of Der Mond, by the same performers.

----------------------------------------------------------------------------
 Richard J. Wyble, Worcester, MA       Internet: richard.wyble@channel1.com
                      Written Sun, 11-15-92, at 3:56pm
----------------------------------------------------------------------------
---
  DeLuxe 1.25 #12515  
--
Channel 1 (R)   Cambridge, MA
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: Brahms
Date: 19 Nov 92 17:16:51 GMT
Organization: DSC Communications Corp, Plano, TX

In article <1992Nov16.192344.15092@borland.com> alexande@borland.com (Mark Alexander) writes:
>In article <1992Nov14.191535.4927@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
>>There's a set of 3 in Eb (Lullaby), Db Major and C# Minor which
>>I don't see how anyone could not appreciate. 
>
>This is the Op. 117.  The second piece is actually B-flat minor, but it's
>a mini-sonata and the second theme is indeed in D-flat major.
>
>I love this set too, and played it in my first recital.  But I don't
>think it's universally appreciated.  For many listeners, three tragic
>Andantes with little relief can be a bit much.  The lullabye isn't
>terribly comforting either; the middle section is about as gloomy as
>you can get.

Oh, I fell passionately in love with these pieces as an undergraduate.  I
listened and listened to Rubinstein's performance of them (1950's mono
recording) and even struggled as a beginning pianist to learn at least
some of them.  I can now play well enough to get through them, but haven't
had the time to master them.  These pieces pierce to the depths of my
heart.  I guess it is a matter of temperament.

By the way the one I did learn, and my favorite of all the short pieces,
was the Intermezzo in C, from Opus 119.  Rubinstein played that on
that album as well.  I only wish I had the technique to learn the 
Rhapsody in E-Flat.  I also muscled my way through to learn the Ballade 
in G-Minor (op 118?).

There are many of Brahms's short pieces that I can't connect to very well,
but others, including the above, are just heavenly to me.  Also, I like the
Waltzes, Op. 15, which are often played too flippantly.  They are so
subtle and, in their lightness, serious, that they should be played
with all seriousness as if they were the profoundest things.  The only
pianist I ever heard do them this way was Carl Seemann (who recorded many
violin sonatas with Wolfgang Schneiderhan), on an old U.S. Decca stereo
album.

My dream existence, however, would be to be able to play the B-flat
piano concerto the way Rubinstein played it at his best.

I think Rubinstein was the greatest Brahms player of all.  He himself 
felt that he understood his music especially well, but he also avoided
playing the short pieces in public, perhaps because of their intimate,
melancholic nature that you pointed out. I think he even mentions this
in his autobiography.

Gerry Palo (73237.2006@compuserve.com)
Newsgroups: rec.music.classical
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: Baritones (was: Euphoniums)
Organization: The Ohio State University
Date: Fri, 20 Nov 1992 23:22:45 GMT

NO! NO! NO! NO! NO!

Baritones and euphoniums are NOT - repeat NOT - the same instrument.  Band
directors only use "baritone" for both because cheap baritones are generally
cheaper than cheap euphoniums, baritones are more common with younger players
because the narrower bore means that less air is required, and people who write
music for lower grade bands generally label the parts "baritone".

For thse of you who may not know the difference: Euphoniums have a larger bore
than baritones, usually a larger mouthpiece (roughly bass-trombone size as
opposed to trombone size for baritones, and a mouthpiece that is more
funnel-shaped (similar to a French horn mouthpiece) rather than cup-shaped
(like a trumpet or cornet mouthpiece).  The larger bore and more flowing
mouthpiece configuration give a euphonium a much rounder, bigger tone.  Of
course, the British confuse matters by having an instrument with a generally
smaller bell which they call a "baritone".  Larger scaled British works and
works with British-style instrumentation will sometimes have separate euphonium
and baritone parts.  One notable example that springs to mind is Grainger's 
_Lincolnshire Posy_.  Th parts in "The Brisk Young SAilor" movement are 
entirely different.  Is that all clear?  Does anyone care?  Would you care if 
John Cage had written a work for Euphonium and 4'33" of otherwise silence? :-)
-- 
*>   Michael J. Valinis   -=+<*>+=-   mvalinis@magnus.acs.ohio-state.edu   <*
*>=>  "Music is your own experience, your thoughts, your wisdom. If you  <=<*
*>+>=> don't live it, it won't come out of your horn." -Charlie Parker <=<+<*
*>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<*
Newsgroups: rec.music.classical
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Re: _The Low Symphony_ (Glass/Bowie/Eno)!
Organization: University of Illinois at Urbana
Date: Mon, 23 Nov 1992 16:38:10 GMT

Gregg Jaeger writes
> In Tower Records' _Pulse!_ magazine it is reported (Nov. '92 issue):
> 
> On Nov. 13th and 14th the Brooklyn Academy of Music's Next Wave Festival
> will present the world premiere of Philip Glass' latest work, _The Low
> Symphony_. The symphony is based on three David Bowie/Brian Eno
> compositions, "Subterraneans," "Warzawa" and "Some Are," from Bowie's
> landmark album _Low_ 

There was a favorable review of this concert (the North American premiere, not  
world premiere) in the NY Times of last monday (11/16).  The choral symphony  
Itaipu was also performed.  I hope that gets recorded as well.

My copy of _Low_, bought in France, does not include `Some Are'.  Are there  
different versions of this album for America and the US?

Ed erwin@lisboa.ks.uiuc.edu

PS: I corrected the World Premiere quote not to be anal, but to remind myself  
that I'm not the only one who gets his facts wrong in print.
Newsgroups: rec.music.classical