HDTenEightyP/NetNews huggingface dataset:
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Stravinsky, Gesualdo
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sun, 8 Nov 1992 05:30:14 GMT

In article <25458@sybase.sybase.com> leighann@rocky.sybase.com (Leigh Ann Hussey) writes:
>Many years (like 10) back, I saw a recording in a store, which appeared to
>be Stravinsky arrangements of pieces by Gesualdo, or something like that --
>anyway the names of the two composers figured prominently on the cover
>(which, as I recall, was silver metallic).  Has anybody seen this album?
>I've always regretted not buying it then and there, as I've never found it
>again.  Anybody know what it could be?

Well, I have Columbia Special Products AKS 6318, which contains about
 a dozen Gesualdo madrigals and motets, two keyboard pieces, and 
Stravinsky's _Monumnetum pro Gesualdo_, which is an orchestra piece.
Stravinsky completed a few Gesualdo motets of which one or two voices 
are lost, and wrote his homage-piece.

The orch. piece is conducted by Stravinsky; the vocal music is sung
by a sextet conducted by Robert Craft.  This may be the only recording 
on which Marilyn Horne and a countertenor (Richard Levitt) sing together.

The record is almost certainly deleted by now.  Perhaps there's a CD.

Roger
From: borchers@poogh.llnl.gov (Robert R. Borchers)
Newsgroups: rec.music.classical
Subject: Wedding Music with Trumpet - Query
Keywords: trumpet, wedding
Date: 10 Nov 92 18:43:49 GMT

Hi, Our son is getting married next summer, and although he is a 'cellist  
they have a trumpeter signed up for music. Would anyone like to suggest  
some festive music for trumpet and organ, or trumpet and piano, that would  
be appropriate for a wedding? If you post a reply I can forward to him or  
reply directly to his e-mail <borchers@max.u.washington.edu>. Thanks, Bob

--
Robert R. Borchers
L-414
Livermore, Ca 94551
borchers@llnl.gov
NeXTmail Welcome
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: Piano Showpiece
Date: Tue, 10 Nov 92 22:29:59 PST
Organization: The Portal System (TM)

  For piano pieces that tend to look, and sound, harder than they
are, you might look at some of the Mendelssohn works; for example,
the Rondo Capriccioso, Op. 14 - somewhat overplayed a generation or
two ago, I think, but a nice piece.  Mendelssohn has the advantage of
lying very well for the hand, i.e. being earier to execute than it
sounds (as opposed to Brahms, where the opposite often prevals).  A
Chopin work that is not too hard, if you except the very difficult coda,
is the C-Sharp Minor Scherzo (No. 3).  The Chopin ETude in A-Flat, Op.
25, No. 1 is also quite effective and not very difficult, though it
would help to have a larger than average hand.

   Bill Pearce
From: jaeger@buphy.bu.edu (Gregg Jaeger)
Newsgroups: rec.music.classical
Subject: Re: Messeian recommendations?
Date: 5 Nov 92 04:21:13 GMT
Organization: Boston University Physics Department

In article <1992Nov5.004644.6263@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:

> Messeian was quite a mystic, and 
>he took Catholic mysticism into a very weird and beautiful world
>that still sounds shockingly modern.

When I was last at _Notre Dame_ the organist was playing something
I _swore_ was Messiaen. It was incredible hearing music like that
in such a space. Does anyone know how the music played there is
chosen and/or if it's likely that it was indeed a Messiaen work
that I heard performed?


Gregg




-- 
Gregg Jaeger (jaeger@buphy)  Dept. of Physics (and Philosophy), Boston Univ.
                
                DON'T BLAME ME, I VOTED FOR ROSS PEROT

Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Messeian recommendations?
Organization: Morgan Stanley & Co., New York, NY
Date: Fri, 6 Nov 1992 18:32:59 GMT

In article <BxAKuA.H82@fulcrum.co.uk> igb@fulcrum.co.uk (Ian G Batten) writes:
>
>``From the Canyons to the Stars''.  It's rather late amongst Messeian's
>work, mid-1970s, and is strongly influenced by both bird song and his
>views on the relationships between colour and tonality.  It contains
>some entrancing horn solos and beautiful piano work.
>
>There's only one recording: Crossly and the London Sinfonietta on EMI.

Two:  Marius Constant leads another composer-approved performance which
is included in the Big Box from Erato.


>
>ian


Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (Stephen Smoliar)
Subject: Re: Sir Peter Maxwell Davies
Reply-To: smoliar@iss.nus.sg (Stephen Smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Tue, 10 Nov 1992 11:43:31 GMT

In article <1992Nov9.175826.5840@math.ucla.edu> pugh@pico.math.ucla.edu (David
Pugh) writes:
>
>And what about these 10 concerti he's writing? How many of them are
>done (heard the oboe and that's about it)?
>
The first two of the Strathclyde Concertos (his spelling) have been recorded
(Unicorn-Kanchana DKP(CD)9085).  The first is the oboe concerto you heard, and
the second is for cello.  The third is for horn, but I have not yet seen a
recording of it.  John Wallace has recorded his trumpet concerto, but that
is not part of the Strathclyde cycle.
-- 
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: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Brahms
Organization: Camex Inc., Boston MA
Date: Thu, 12 Nov 1992 13:24:14 EST

In article <Nov12.052007.62493@yuma.ACNS.ColoState.EDU>
hurben@lamar.ColoState.EDU (Mike Hurben) writes:

>In article <BxL30t.8FM@undergrad.math.waterloo.edu>
kldawkin@undergrad.math.waterloo.edu (Kiwi) writes:

>>I have heard all the [Brahms] symphonies
>>and I am unimpressed, as well as both piano concerti, the violin
>>concerto, the double concerto, all of opp 117, 118, both major overtures,
>>and some of the Hungarian dances. And other things which
>>I forget.

>Well, I cannot help you out.  I must confess to feeling exactly as you do.  
>Any recommendations?

This might seem obvious to some, but it seems to me that if you've heard
all that and don't particularly like it, maybe you just don't like it.
It's not a mystery or anything.  Yeah, there's a few pieces not mentioned,
but maybe you just don't like it.  That's ok.  Brahms didn't like a lot of
his music either.

If, however, you have a natural inclination toward chamber music, and if
you still insist on stuffing Brahms down, you might try the viola sonatas.
Some will claim that these were written for clarinet and only transcribed
for viola.  No matter.  I think they sound generally unimpressive when
played on the clarinet, and they sound downright ugly on the viola --
UNLESS you can find William Primrose's recording.  This man makes more
sense of the music than anyone else I've ever heard, and I would say his
recording is worth seeking out.  No idea of it's around on CD these days.

Chris Ischay
chrisi@camex.com
Newsgroups: rec.music.classical
From: kldawkin@undergrad.math.waterloo.edu (Kiwi)
Subject: Brahms
Organization: University of Waterloo
Date: Thu, 12 Nov 1992 03:29:15 GMT

I've been dying to ask this question, and right now I feel the time is
right. Don't ask why. Anyway, my question is this: Are there other
people out there who think (as I do) that Brahms is highly overrated?
That's not to say he didn't write great music... but I don't think
he wrote a *lot* of great music. The strange thing about Brahms
is that although I like a great deal of music from his time
(music of contemporaries such as Liszt, Wagner, Bruch, Saint-Saens,
Balakirev, etc.) I simply can't get into his music at all. 
I would quite gladly be proven wrong, and I'd love it if people could
post some suggestions to get me going. I have heard all the symphonies
and I am unimpressed, as well as both piano concerti, the violin
concerto, the double concerto, all of opp 117, 118, both major overtures,
and some of the Hungarian dances. And other things which
I forget.


So... help out!

Kyle.
   ,------------------------------.,---------------------------------.   \._,
  /   7   ,7  o             o     / kldawkins@cayley.waterloo.edu    /   < /
 /   /--<'   /   /  ,  /   /     / kldawkins@descartes.waterloo.edu /     ' 
/  -'    `--'`--'`-'`-'`--'`-   / kldawkins@napier.waterloo.edu    /    /7 
`------------------------------'`---------------------------------'    //  NZ!
"Don't call me God. Call me Pope so I have something to aspire to."    '
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Cage Lives!!! (on usenet)
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 10 Nov 92 08:21:29 GMT

Bird Lives.  Elvis Lives.  Cage?? - see for yourself.

This morning my news prompter informed me of the existence of a 
new newsgroup called rec.games.abstract...so I 
figured "What the heyho, let's see waz up."  The essence of what I found
is included below (names and posting sites deleted to protect the
security of Cage's new identity and whereabouts).

I think this definitely counts as a sighting, but see what you think.

************************************************************************
Subject: What???

...is this newsgroup supposed to be about???

(Is there anybody out there???)
**************************************************************************
Subject: Re: What???

|> >(Is there anybody out there???)
|> Yes, there are others asking What...

You know, if you think about it, maybe we're playing the game already!
***************************************************************************
Subject: Re: What???

>You know, if you think about it, maybe we're playing the game already!

I hope so! Am I winning??!? 

***************************************************************************
Subject: Re: What???

Isn't this group just so amazing, there was such an outpouring of votes for
this group, and now someone's dream is here.  And I still can't figure out the
purpose of it.

***************************************************************************
Subject: Re: What???

>|> >(Is there anybody out there???)
>|> Yes, there are others asking What...
>
>You know, if you think about it, maybe we're playing the game already!

I think you just scored!

***************************************************************************
Subject: Re: What???

%I have no idea.  It has an interesting name, though.  Perhaps in view
%of the absence of a FAQ, we could postulate that it should at least
%cover the kinds of games that can be played in the abstract 

And then, we could form rec.games.surreal:

P1  One.
P2   "A".
P1  Five.
P2   Giraffe.
P1  Plumbing?
P2   Oh, shit!  Because a house can't eat.
P1  The sound of one hand clapping.  I win!  Or did you?  Huh?

****************************************************************************
From: ian.murray@synapse.org (Ian Murray) 
Newsgroups: rec.music.classical
Subject: Re: HAYDN
Date: 6 Nov 92 00:50:00 GMT
Distribution: world
Organization: SYNAPSE BBS - GATINEAU, QUEBEC - 819-561-4321
Reply-To: ian.murray@synapse.org (Ian Murray) 

On 11-05-92, Ng Ling Ling wrote to All regarding Re: HAYDN


NL>Haydn is getting back in vogue mainly because of the authentic period
NL>style performance which is damned hot in Europe.
NL>
What do you mean by "period Instruments"?  Would Vivaldi sound good on 
instruments of Beethoven's period? Certainly everything I've heard by 
Schnittke is performed on "period Instruments".  While I will grant you 
that Baroque or Classical Period pieces sound mellower when played on 
instruments of their respective periods,  This may be due to the age of 
the instruments.  For example I have a Bass Viol that is reletively new 
(Maybe 6 or 7 years old) which to me sounds rather tinny compared to my 
other Bass Viol which is just over 35 years old and has a much richer 
sound and I remember how tinny IT sounded when it was new.  How tinny did 
the reletively new violins of say, Mozart's period sound during that 
period?

"Beethoven was left handed!"

TTYL
     Ian "Doc" Murray

---
 . WinQwk 2.0 #0 . Unregistered Evaluation Copy
                                                                                                                         
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Grosse Fuge Op.134 ?
Organization: Camosun College, Victoria B.C, Canada
Date: Thu, 12 Nov 1992 01:35:29 GMT

In article <1992Nov11.221521.4006@ucsvc.ucs.unimelb.edu.au> u6404369@ucsvc.ucs.unimelb.edu.au writes:
>Does anyone know of a recording of Beethoven's own piano duet
>arrangement of his Grosse Fuge i.e. op 134

Paul Jacobs and Ursula Oppens Nonesuch - coupled with the Mozart
Fantasia for a Musical Clock and the 2 piano version of Busoni's
Fantasia Contrappuntistica. Fabulous performances. I believe it's on
CD now.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Newsgroups: rec.music.classical
Subject: The Best Tchaikovsky's 6th (was Re: The Best Thaikovsky's 6th
Date: 12 Nov 92 22:24:10 GMT
Article-I.D.: jhunix.1992Nov12.222410.27468
Organization: HAC - Johns Hopkins University, Baltimore

Please correct the spelling in the subject line, my kill file misses it :-)

-- 

	Francois Velde
Newsgroups: rec.music.classical
From: lungtt@gus5.ecn.purdue.edu (Terence T. Lung)
Subject: Re: Help finding Paganini!
Organization: Purdue University Engineering Computer Network
Date: Tue, 10 Nov 1992 04:32:07 GMT

In article <1992Nov9.190047.673@ab.wvnet.edu> lambert_l@ab.wvnet.edu writes:
>Does anyone out there know how I can get some music by Paganini?
>I have looked for him everywhere and can't seem to find any of his music
>releases anywhere.  I really like his music, so any help would be appreciated.
>  Thank You in Advance,
>
>    Lisa Lambert

Sheet music or recordings?

Deutsche Grammophone has a whole series of recordings by Shlomo Mintz
of Paganini's violin concertos 1-5 and 24 Caprices.  Other violin
pieces like Nel Cor Piu Non Mi Sento are much harder to find now that
LPs have become impossible to find.  Besides Shlomo Mintz, Paganini's
violin concertos 1 & 2 are quite popular and should be available in
all sorts of soloist/orchestra combinations.  I've also seen CD
collections of Paganini guitar quintets.  I've only seen these in the
bigger CD outlets like Tower Records.

There's also a recording of his 24 Caprices out by Midori.

Terence
From: givler@bermuda.cbm.commodore.com (Greg Givler)
Newsgroups: rec.music.classical
Subject: Re: Best recording of "1812 Overture"?
Date: 11 Nov 92 15:20:37 GMT
Organization: Another Amiga UNIX System

In article <17321@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
>Is that famous version conducted by Dorati with REAL CANNONS, REAL CARILLON,
>etc., etc. from many years ago still available on CD? It used to be paired
>with Wellington's Victory (an equally noisy recording) on LP...

I have that recording, Mercury put it out, and my pairing is with the 
Cappricio Italien(sp?). The orchestra is the Minnesota Symphony. 
I also have the Karajan, with Chorus, but it pales to my scratchy on Dorati.
:-)

Greg

-- 
Greg Givler                 | "There are lies, damned lies, and statistics"
Commodore Product Assurance | - Mark Twain
givler@cbmvax.commodore.com |
===============================================================================
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Newsgroups: rec.music.classical
Subject: Re: HAYDN
Date: 10 Nov 92 21:06:30 GMT
Article-I.D.: jhunix.1992Nov10.210630.26309
Organization: HAC - Johns Hopkins University, Baltimore

In article <basinski-101192132405@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>
> I'm surprised that nobody has said anything about Haydn's piano
>sonatas. 
I did, I did!!

>I don't really know too much about what recordings to
>recommend, but having heard performances of many of them, I find
>them really delightful - the essence of classicism in terms of
>elegance and formal beauty. I know there are recordings available
>on fortepiano, but I must say I've heard some marvelous performances
>on modern piano, in which the performer seemed to me to be quite
>aware of the stylistic approach for a fortepiano - no anachronistic
>dynamic excesses, etc., but nonetheless a beautiful realization of
>the music.

Agreed completely.  I have the complete set by Rudolf Buchbinder on
teldec, and I like it very much, but what do I know (moden piano, I believe).


-- 

	Francois Velde
Newsgroups: rec.music.classical
From: dencisco@eos.arc.nasa.gov (David Paul Encisco)
Subject: Re: KDFC - a question.
Organization: NASA Ames Research Center
Distribution: usa
Date: Fri, 6 Nov 1992 18:08:32 GMT

zhu@blaze.rutgers.edu (Yi Zhu) writes:


>There is this station KDFC whose announcer practices a peculiar way of
>radio hosting.  Before and after a piece is played, he would give the
>usual info about the number, then a pause, then almost as an
>afterthought, adds a 4 digit number, e.g. 1865, 1934, 1786.  I found
>it quite odd, after a couple tunes, I figured out that it is the
>year in which the piece is completed.  So here is the million dollar
>question: Knowing the year(assuming you know what that number means),
>does it help enhancing your enjoyment or understanding of the music
>in any way?


Well we sometimes play a little game with that: "can you guess the
year?" Actually with such a diverse area you would think that the Bay
Area would have an excellent classical (noncommercial) radio station.
We don't! KDFC and KKHI are "pop-classical" stations with too many
degrading and insulting commercials. We once had an excellent radio
station, KQED FM, which has since gone to a 24 hour news format (I
have long since discontinued my membership because of the KQED
organizational debacle, but that's another matter).  The Bay Area is
hurting for a good classical station, one with personality, and not
one of these preprogramed "monotonic" announced stations with damn
march music at 8 a.m. every week day.

Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Favorite Ring recordings
Date: Tue, 10 Nov 1992 05:59:38 GMT
Organization: Colorado State University, Fort Collins, CO  80523

Well, I knew I would get around to this sooner or later...I was wondering what
opinions are out there concerning various Rings, especially the ones that I
have never heard, such as the Haitink, von Karajan, or the one sung in English.
I own the Levine on both CD and video tape, and S and G from the Solti cycle.
I have heard most all of the Solti, but there is a lot that I don't like...
  The sound quality can be pretty bad, at times.  I think that it really takes
it's toll during the forest murmurs - it does not sound very 'delicate,' as I
think it should.  I also don't care too much for the love music, especially
Siegmund's 'Wintersturme.'  To me it sounds forced, unromantic.  Where Solti
makes up for this is in the more dramatic scenes, namely the entry into Valhalla
and Act I of S.
  It has become impossible for me to listen to Act I of S by Levine.  Compared
to Solti it is absolutely lifeless, boring chatter.  With Solti, you can almost
smell the furnace and molten steel, and the Mime of Stolze just blows away the
good intentions of Zednick.  But when it is time for the 2nd act, I go back to
Levine and his lovely forest murmurs, and the Forest Bird of Kathleen Battle is
very nice.  The other things I find supierior in the Levine are:  James Morris
is a great Wotan.  Behrens is a great Brunhilde.  Matti Salminen is an AWESOME
Hagen - he scares the daylights out of me!  Act I of DW is stunning! Both Lakes
and Norman sing with such sincerity and rapture!  And finally (for now) I think
the prelude to DR here blows away Solti - there is much more detail to be found
in it.

- Mike Hurben            "Zuruck vom Ring!"

Newsgroups: rec.music.classical
From: tony@cns.nyu.edu (Tony Movshon)
Subject: Re: Mozart recommendations
Reply-To: tony@cns.nyu.edu
Organization: New York University
Date: Thu, 12 Nov 1992 17:29:56 GMT

In article 17169@hsr.no, oppen@hsr.no (Eirik Oppen) writes:
> Here are two questions regarding recordings of some chamber music 
> by W.A.Mozart, I hope to get some reply on.  I am looking for the best CD,
> in terms of sound and performance of the following:
> 
> 1     The clarinet quintet, K581

I highly recommend the recent recording by Anthony Pay and musicians from
the Academy of Ancient Music. I'm not an original-instrument fanatic by
any means, but the playing and recording are beautiful. Pay plays a basset
clarinet (for which the piece was originally written), which is a major
plus -- the modern clarinet doesn't quite have the compass for the part and
there are some awkward transpositions when modern instruments are used.

The same folks have also recorded the Clarinet Concerto, also highly
recommended.

------------------------------------------------------------------------
					Tony Movshon

Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
					Center for Neural Science
					New York University
Phone:	   (212) 998-7880		4 Washington Place, room 809
Fax:	   (212) 995-4183		New York, NY 10003
------------------------------------------------------------------------

Newsgroups: rec.music.classical