HDTenEightyP/NetNews huggingface dataset:
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 22 Dec 92 18:51:51 GMT

In article <1992Dec21.235521.12666@linus.mitre.org> rwilmer@gateway (R. Wilmer) writes:
>
>That early lively Shostakovitch concerto (1 or 2).
>

From the word early, I think this is probably #1.  The second was
composed in the late 50's after Stalin died.  #2 is a wonderful piece of
music.  And, oddly, the first time I heard (and only time I've seen)
it performed was during a ballet performance.  I really love his
second concerto for piano.  But, I can't decide on an overall
favorite.  I'll pick a few others I always love to hear:

Mozart #24,
Tchaikovski #1,
Gershwin, Concerto in F,
Ravel, Concerto in Gm,
Bartok, Concerto #2,
Grieg, Concerto,
Schumann, Concerto.

And, I must cast my vote for Beethoven's #4 as my favorite from Ludwig.


John D.
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Havergal Brian Symphony
Date: 28 Dec 1992 01:21:18 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Hal Prentice (hal@radio.wkar.msu.edu) wrote:
: symphonies I've heard that I really like are the "Gothic", Symphonies 8 & 
: 9.  I least like Nos. 10 & 21.
:                     

As a long-time Brian afficianado, I must say that I still like the 10th
the best. This was the first Brian I heard, and that may have something
to do with it. Coming close are the 3rd and the 31st, and then the
Gothic.

I think the reason I don't like the Gothic more is the length of the
piece - it seems to stretch in every direction like an abandoned
cathedral in a nightmare, and it is incredibly hard to comprehend, even
after the umpteenth listening. It's still wonderful.
From: DeadHead@cup.portal.com (Bruce M Ong)
Newsgroups: rec.music.classical
Subject: Re: The BEST finale!
Date: Wed, 30 Dec 92 16:44:35 PST
Organization: The Portal System (TM)
Distribution: na

>I just listened to Brahm's Symphony #1 over and over and over...  The  
>final movement is possibly the BEST ending to a classical piece I have  
>ever heard!  That sparked me to ask this question to find out what else I  
>should listen to to hear some amazing endings:
>
>What is YOUR favorite ending or finale to a classical piece?
>
	Thanks for that question, geez! I just read about 100 articles in
this thread! It was pretty fun until somebody started a cat fight on the
subject of  Bruckner... The last time I checked into this group (about 4-5
months ago) there was a Bruckner fight, too. Bruckner is one of those that
you either love it or hate it... (and I cant stand the dude <grin>)

	But as for the favorite ending... A lot of people have mentioned
the standard ones. But just to throw a curve ball here, I'd like to mention
Haydn (did I spell his name right?) Farewell symphony. I didnt seriously
think about its meaning (altho I know the story behind it long ago) until
I went to see it performed by the local symphony orchestra as the conductor
was conducting his last performance... (The farewell performace was Farewell
Symphony and Mahler's sym #2, incredibly symbolic performance for a conductor
who kind of resurrected the San Jose Symphony Orchestra from the dust of 
oblivion to a fine quality orchestra)

	Also, Tchaikovsky's symphony #6 -- the last movement in contrast
to the movement before, for its symbolism, again. A very sad case, that dude.

>--
>Kevin T. Stiner                    |"Space is big, really big!"
>stinerkt@nextwork.rose-hulman.edu  |--Hitchhiker's Guide to the 
>AMIGA 4000      Serial No. 000403  |  Galaxy
>NeXT mail encouraged!!             |

---
/bruce
"A world without music is like a garden without flowers." -Mme. R. Roland.
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Newsgroups: rec.music.classical
Subject: Re: Berg
Date: 22 Dec 92 17:33:48 GMT
Organization: Viewlogic Systems, Inc.
Originator: brad@buck


In article <1992Dec22.081306.28194@cs.unibo.it>, presti@cs.unibo.it (Enrico Presti) writes:
|> Why nobody write something about Berg's opera? Compositions like the
|> "Violinkonzert", "Streichquartett op.3" and "Lyrische Suite" interested me very
|> much. Time ago i assisted to a representation of "Wozzeck", and it was a
|> great experience. Would someone reply me?
|> 
|> Thanks in advance.
|> --
|> Enrico Presti
|> University of Bologna (ITALY)
|> Department of Mathematics

I'm not quite sure what you're asking, but if you want some comments on Wozzeck,
I could at least say it is an incredible piece of music, even without seeing
it performed on stage, which I haven't. Alot of operas are, to me, highly
dependent on seeing them. By that I mean the soundtrack alone doesn't hold
up too well.

However, given the time and the libretto, I can sit down and enjoy (even be
mesmerized by) a recording of Wozzeck. The nighttime scene in the barracks
is really astonishing. The effect Berg gets with the chorus doing a sotto
voce representation of the soldiers sleeping, while Wozzeck lies awake and
starts a plaintive lament, is transfixing.

Of course, the music is not exactly melodic in the old fashioned sense,
with Berg following the 12 tone model. But if Schoenberg doesn't frighten
you, neither should Berg.

- Bradford Kellogg  
Newsgroups: rec.music.classical
From: "bob warren" <bob.warren@canrem.com>
Subject: all-inclusive list - not!
Reply-To: "bob warren" <bob.warren@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 1 Jan 93 14:34:51 EST


DB: Of course, your list also omits some outstanding names whose output is
DB: of very high quality overall: Carlos Kleiber, Charles Mackerras,
DB: Wolfgang Sawallisch, Istvan Kertesz, Eugen Jochum, Gunther Wand,
DB: Giuseppe Sinopoli, Jean Martinon, Kirill Kondrashin, Herbert
DB: Blomstedt, Riccardo Muti, Leonard Slatkin, Andre Previn, Gerard
DB: Schwarz, Otto Klemperer, Rudolf Kempe, Frans Bruggen, Sigiswald
DB: Kuijken, Gustav Leonhardt, Reinhard Goebel, etc. Each has his
DB: strengths and weaknesses, and I'm sure other netters will want to
DB: comment on likes and dislikes from this list, as well as add a few
DB: names to it.

DBIndeed: Furtwaengler, Toscanin, Erich Kleiber, Bruno Walter, Jascha
DBHorenstein, Carl Schuricht, Yevgeni Mravinski to name just a few.

   Realizing that you _do_ say " to name just a few. ", I am
    curious that the name of Sir Colin Davis does not appear.

   Are his interpretations in the middle or lower half of the scale?

    I recently borrowed from a local library the following CD:

     Philips 416 144-2

     Sir Colin Davis, Staatskapelle Dresden

     Claudio Arrau

     Beethoven Piano Concerto No. 4 / 32 Variations on original theme
                                      in C minor


     and am enthralled both by the music and the performance, although
     my understanding of classical music would probably not fill
     a teacup.

---
  SLMR 2.1a #1696  memory manager:  Something I need more than my computer.
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: clavazzi@nyx.cs.du.edu (The_Doge)
Subject: Re: ?: Dvorak's use of PENTATONIC scale?
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Thu, 31 Dec 92 05:17:38 GMT


In article <MARCA.92Dec15013406@wintermute.ncsa.uiuc.edu> marca@ncsa.uiuc.edu (Marc Andreessen) writes:
>In article <1992Dec15.003819.26858@news.cs.brandeis.edu>
>jacob@max.cc.brandeis.edu ( ) writes:
>
>   Can't talk in particular on this example but in general I've read that
>   Dvorak was really fascinated with blues and in general African-American
>   music... (much before any significant number of White Americans)
>
>Let's put it this way -- the original name for the ``American''
>quartet was not ``American'' but rather what is today considered to be
>a fairly derogatory reference to African-Americans (and no, I don't
>mean ``black'').
	Actually, the quartet had that appelation only in Great Britain.  
Dvorak himself didn't give it a subtitle at all.  It is true that he was
fascinated by the music he heard being made by African-Americans and native
Americans during his time in the USA and used some of these ideas in his
music.  The use of the pentatonic scale was one way of translating what he
heard in terms of his own musical background, I assume.
The_Doge
ObQuote:	"Of all the noises, I think music is the least disagreeable."
			-- Dr. Samual Johnson
Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: Re: Shostakovich symphony recommendations
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Tue, 22 Dec 1992 19:48:31 GMT

In article <1992Dec22.084440.2125@news.unige.ch> jordi@marsun1.NoSubdomain.NoDomain (JORDI Stephane) writes:
>In article <1992Dec19.202445.18333@magnus.acs.ohio-state.edu>, jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>|> 	I'm just beginning to explore Shostakovich's symphonic output.

>You certainly must get the 5th, as a standard Shostakovich symphony.
>


Allow me to suggest another Shostakovich 'goodie' that is a) low-priced
and b) widely available. I refer to the 1966 recording of the 10th
symphony by Von Karajan and the Berlin PO. Karajan's output was certainly
variable in quality, but this is one of his best, and for me the most
convincing exposition of this piece.


>
>You simple will be delighted in your exploration of the Shostakovich's world.
>Keep going !!!
>
>Sincerely,
>
>Steve Jordi                


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: rms@oclc.org (Russ Schnall)
Subject: Zoltan Kodaly Inst. (Repost)
Keywords: Zoltan Kodaly, Budapest, Hungary
Organization: OCLC Online Computer Library Center, Inc.
Date: Mon, 21 Dec 1992 13:55:18 GMT

My son has the opportunity to study at the Zoltan Kodaly Pedagogical
Institute of Music in Kecskemet, Hungary, near Budapest.  I know they
have a different approach to studying music, the Kodaly System.  However,
I don't know anything more than that.

Do any of you have any information on this?  Since I know very little
about it, any information you would send my way would be greatly
appreciated.

Thanks very much.

(p.s. This was posted several weeks ago, and due to the lack of response I
am assuming that it did not get posted correctly.  I'm trying one more time.
Thanks again.)
-- 
----------------------------------------------------------------------------
                                                        ___
"Nature and nature's laws lay hidden in night,        \/ 2 
 God Said 'Let Newton Be!', and all was light"          ---  (= rms)
From: jps8@po.CWRU.Edu (James P. Schwonek)
Newsgroups: rec.music.classical
Subject: Looking for a woman to enjoy music with.
Date: 23 Dec 1992 23:24:54 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: jps8@po.CWRU.Edu (James P. Schwonek)
NNTP-Posting-Host: slc12.ins.cwru.edu


Salutations

I am looking for a female friend for chats, concerts, and just
hanging around.

I really enjoy music and play the keyboard.

If you are in NE Ohio and interested, please contact me.

Jim

P.S. Please reply via email.


-- 
James P. Schwonek                         "One lesson, Nature,
SGI Iris Administrator/Programmer          let me learn of thee."
CWRU School of Medicine                           --Matthew Arnold
jps8@po.cwru.edu root@dpbiris.phol.cwru.edu
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: The BEST finale!
Date: 23 Dec 92 04:11:48 GMT
Organization: DSC Communications Corp, Plano, TX

In article <BzHM0v.8HC@cmcl2.nyu.edu> tony@cns.nyu.edu writes:
>In article 279@rulway.LeidenUniv.nl, vosse@ruls41.LeidenUniv.nl (Theo Vosse) writes:
>> BTW, is there any finale that simply stops, i.e. does not die away
>> and does not reach a climax as well, but which is still worthwhile?
>
>In the category of "unexpected but cool" endings you have to put the Scherzo
>of Beethoven's 7th. This movement starts out as if it will be a standard ABA
>movement (scherzo, trio, scherzo). Unexpectedly, Beethoven adds another BA
>(i.e. the trio is repeated, and the scherzo reappears for a third time). Then,
>just to top if off, he pretends to begin the trio for a *third* time (has he
>*completely* lost it, folks?), and then chops off the movement with four brisk
>chords. Very effective. 
   >
>------------------------------------------------------------------------
>					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
>------------------------------------------------------------------------


The scherzo of the fourth does something like this as well.  I also no-
minate the last movement for a great finale
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico ( paganini's admirer )
Subject: water mountain suite?
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Wed, 30 Dec 1992 19:06:30 GMT

I heard this piece from KKHI (SF) the other day and only heard part of the description.
It was supposed to be "water mountain suite" (?) from a polish composer for a 1960's 
movie.  Does anyone know the complete title, movie it came from and name of the modern
composer?



Thanks in advance.

David W.

Newsgroups: rec.music.classical
From: presti@cs.unibo.it (Enrico Presti)
Subject: Berg
Organization: Laboratory for Computer Science, University of Bologna, Italy
Date: Tue, 22 Dec 1992 08:13:06 GMT

Why nobody write something about Berg's opera? Compositions like the
"Violinkonzert", "Streichquartett op.3" and "Lyrische Suite" interested me very
much. Time ago i assisted to a representation of "Wozzeck", and it was a
great experience. Would someone reply me?

Thanks in advance.
--
Enrico Presti
University of Bologna (ITALY)
Department of Mathematics
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: Shostakovich symphony recommendations
Date: 23 Dec 92 12:09:48 GMT
Organization: St. Andrews University, Scotland.

In article <BzJutF.Hvy@mach1.wlu.ca> bili6745@mach1.wlu.ca (bilinsky keith) writes:
>In article <1992Dec19.202445.18333@magnus.acs.ohio-state.edu> jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>>	I'm just beginning to explore Shostakovich's symphonic output.
>>To date, I own symphonies #7 (Mata/Dallas) and #6 & #9 (Jansons/Oslo),
>>and I'd like to know your thoughts on the following:
>>	1.  What are the "best" recordings of his 11th and 13th?
>>	2.  Which other of his symphonies would be most worth exploring
>>(as a possible guideline, I like the 7th much more than the 6th and 9th)?
>>    Thanks in advance for your suggestions.
>>--jason
>>
>
>Listen to Shostakovich 5, get the 1959 New york, Bernstien if you can,
>Others will flame it for being inaccurate but its a woderfully exciting
>work/performence.

Try any of the Jarvi/SNO discs. They did 1,4-10 and all were first rate.
Another recomendation for 5 would be the Lenningrad Symphony Orch
under Alexander Dimetrive (sp) on Linn records. A live performance
that is electrifing. The end is the best i've ever heard.
gav
Newsgroups: rec.music.classical
From: bryan@netcom.com (Bryan Higgins)
Subject: Re: Bamberg Symphony
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Wed, 23 Dec 1992 07:01:58 GMT

km34@cunixf.cc.columbia.edu (Keith Moulton) writes:

>In article <143806@lll-winken.LLNL.GOV> borchers@poogh.llnl.gov (Robert R. Borchers) writes:

>Bamberg is the sister-city of my hometown, Fredonia, NY.

"Hail, hail, Fredonia, land of the Freeeeeeeee!"

The reason for my original question of whether the Bamberg SO was the same as
the Bayerischen Rundfunks O was simply that I've seen recordings with the
former by the latter's conductor, Eugen Jocum.  Since Bamberg is in Bavaria,
I jumped to a wrong hypothesis.
-- 
Bryan Higgins, Berkeley, California  (bryan@netcom.com)
Newsgroups: rec.music.classical
From: hsong@ardour.bellcore.com (G. Hugh Song)
Subject: M"ullerin and lieder tenors
Organization: ..
X-Newsreader: Tin 1.1 PL5
Date: Mon, 28 Dec 92 02:36:33 GMT

I would like to initiate a thread of great lieder tenors.
I tried to find a satisfying recording of Schubert's Die Sch"one M"ullerin
sung by a tenor instead of THE baritenor, D. F.-D.  I like D. F.-D.   
However, I'd really like to hear the tenor song by a real tenor.

I heard Fritz Wunderlich, Peter Schreier, and Peter Pears.
I did not like them all.  Wunderlich is mostly good. But he lacks a real 
pianissimo, and sometimes his voice gets harsh.
Peter Schreier's voice is well-controlled but not beautiful.
Peter Pears has a too much nasal sound.
I always wished that Carlo Bergonzi had been able to speak German.

So I delayed purchase of a CD version for this song until recently.
Then I visited Tower Record.   I chose between the two -- Josef Protschka
and another tenor.  I had not heard those tenors.  Guess what I did. 
I chose the fatter singer -- Protschka.  
I came home, and listened to the song carefully.  To my surprise, the singer
was satisfying.  He has a beautiful voice and controls his voice
gracefully.

Since I came to U.S., I could not hear classical music on radio very much.
So I lost the track of "whose voice is the voice".

Would you all tell us about your favorite lieder tenors?

	Hug
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: beethoven's symphonies
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 21 Dec 92 13:37:22 EST

   >    Subject: beethoven's symphonies

SMW>In article <1992Dec18.4216.25741@dosgate> "alexander inglis" <alexander.ing
   >>   >z    Subject: Beethoven's Symphonies
   >>
   >>If you'll indulge me, Sams, just next door to HMV, is selling off the
   >>EMI Furtwaengler discs at C$6.99 each. If you can find all 5, it's a
   >>bargain. Mono sound, but echt Beethoven in execution.
   >>

SMW>How about the Furtwaengler's recording of Beethoven's symphonies on
   >'Virtuoso' label?  I bought a set of 5 discs including all but the
   >2nd symphony for only US$18 (in mono, too).  Are they considerably
   >inferior to his EMI recording, individually or as a whole?  Is there
   >any EMI disc(s) worth owning in addition to the Virtuoso set?

Oh-oh ... another label with WF performances floating about ...
I don't know this one. Could you post -- or e-mail -- the recording dats
if the box references these? I'm a Furtwaengler nut ....

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
Subject: Re: in praise of Harnoncourt (was Re: Harnoncourt and Svedja
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Date: Wednesday, 23 Dec 1992 09:39:37 EST
Organization: University of Maryland at Baltimore

Nice story about Harnoncourt silencing the errant applauder,
Francois.  Have you (or anyone) heard Harnoncourt's recording
of the Monteverdi Vespers?  Very nice performance with verve
and, occasionally, a rather perverse humor.

Bob
Newsgroups: rec.music.classical
From: atems@igor.physics.wayne.edu (Dale Atems)
Subject: Re: Bruckner (was: Re: Best finale)
Organization: Wayne State University, Detroit, MI
Date: Sat, 2 Jan 1993 03:08:21 GMT

In article <1993Jan1.232207.14710@magnus.acs.ohio-state.edu> mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis) writes:
>OK! OK! I can't restrain myself any longer!  I've been lurking here for a while
>reading all the Bruckner adulation, and I just have to add myself to the list 
>of those who couldn't care less about Bruckner.  Notice that I did not state 
>that I hate Bruckner.  That would imply that his music had some strong effect 
>on me, which it doesn't.  Bruckner moves me not at all.  Personally, I have 
>better things to do with my life than listen to an overblown, interminable 
>meander through the dregs of romanticism.  Give me one, just one, motet by 
>Desprez, and you are welcome to everything Bruckner ever poured onto paper.  

To each his own, I guess. I'd just wonder if you've heard all of Bruckner's
major works, or made up your mind after hearing a couple of the "popular"
symphonies.

>Back to the origin of this thread, best finales, would anyone else consider the

Okay, let me throw out one I don't think anyone has mentioned (surprisingly):
Beethoven's Op. 131 string quartet.

------
Dale Atems
Wayne State University, Detroit, MI
Department of Physics and Astronomy
atems@igor.physics.wayne.edu
Newsgroups: rec.music.classical
From: atems@igor.physics.wayne.edu (Dale Atems)
Subject: Gorecki's 3rd Symphony
Organization: Wayne State University, Detroit, MI
Date: Sun, 3 Jan 1993 04:57:40 GMT

I listened to the first movement of Gorecki's 3rd symphony today on
headphones in the local record store. It was hard to hear the quiet
parts over Hindemith's Mathis der Maler blaring on the loudspeakers,
but I think I got a pretty good idea. Although the spiritual thrust
of the music is undeniable, I'm not sure this is the sort of thing
I'd want to listen to many times. There's very little going on here
of musical interest, just a seamless polyphony of long slow lines
intertwining, the resulting harmony completely static and diatonic.
Dawn Upshaw's central solo was stunning, but nothing else held my
attention for long.
 
Are the other two movements more of the same? I believe there was a
thread here on Gorecki before Christmas that I largely missed. I was
thinking of buying the record, but I can't justify shelling out the
bucks if it's something I'll only listen to once.

------
Dale Atems
Wayne State University, Detroit, MI
Department of Physics and Astronomy
atems@igor.physics.wayne.edu
Newsgroups: rec.music.classical