HDTenEightyP/NetNews huggingface dataset:
From: dbrooks@osf.org (David Brooks)
Subject: Re: Recommendation for Requiem music is needed.
Followup-To: rec.music.classical
Reply-To: dbrooks@osf.org (David Brooks)
Organization: Open Software Foundation
Date: Wed, 22 Jul 1992 03:46:26 GMT

acid+@cs.cmu.edu (Christopher Colby) writes:
>In article <1992Jul21.011732.29960@lclark.edu> larryw@lclark.edu (Larry Westdahl) writes:
>>The Berlioz Requiem is quite nifty, although I do not know of any specific
>>recorgings. 
>
>seems okay, but nothing special.  Maybe the Davis is good.  (?)

If you mean the 1970 recording, the performance is wonderful, but the sound
quality is awful.  Davis was coming off a celebrated performance at the
Proms.

Still, it passes my own taste test: when the tubas hit the D-flat in the
Tuba Mirum fanfare, you feel like you've been picked up by the hairs on
the back of your neck.

(actually, in the 1867 edition it's 2 horns, 4 bass trumpets, 4 trombones
and 4 tubas, but, hey.)
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Six more months!  Six more months!
Newsgroups: rec.music.classical
From: loosemore-sandra@CS.YALE.EDU (Sandra Loosemore)
Subject: Re: Violin showpiece during Olympic gymnast's floor routine
Organization: staff hacker @ Yale Haskell project
Date: Thu, 30 Jul 1992 12:38:58 GMT

lung@oasys.dt.navy.mil (Terence Lung) writes:

   >Did anyone wathching the Olympics (women's gymnastics) Tuesday night
   >(around 11:15 PM EST) recognize the violin showpiece used during a US
   >gymnast's floor routine?

   If it's the same one they played over and over again on Sunday and
   Monday nights, it was an excerpt from the third movement of Paganini's
   second violin concerto--La Campanella (the Bell).

No, I'm pretty sure the original poster was referring to Shannon
Miller's optional floor ex music.  Sorry, I don't recognize it, but
since Shannon will be repeating the routine in the all-around and
event finals maybe it will ring a bell :-( with somebody else!

-Sandra
Newsgroups: rec.music.classical
From: jfh@netcom.com (Jack Hamilton)
Subject: Male choral music
Date: Wed, 22 Jul 92 04:58:06 GMT
Organization: Netcom - Online Communication Services (408 241-9760 guest)

In article <1992Jul20.044446.11830@Princeton.EDU> mikulska@astro.Princeton.EDU 
(Margaret Mikulska) writes:
>
>Liszt wrote a Requiem for male chorus.

Yes, it's a gorgeous piece.  I have two commercial recordings, one by a Red
Army chorus (Hungarian, I think) and the other by a French chorus.  Neither
one is great, but they'll give you a feel for the piece.  (Both of my
recordings are on LP, by the way, and some of the sonic problems may have
been fixed if either has been reissued on CD.)

My favorite recording of it is a bootleg live recording of the San Francisco 
Gay Men's Chorus.  A few of the other gay men's choruses have also
performed it, I think.  One of the good things about the gay/lesbian
choral movement has been the revival of some old SSAA or TTBB works which
otherwise wouldn't be performed, such as "The Times of Day" by Richard
Strauss and the original version of "On the Beautiful Blue Danube". 

One of the odder pieces performed at the recent GALA Choruses Festival was
a choral version of "Bolero" written in the 1930's (I think).  Someone found 
a copy of the music and called the publisher to get performance rights.  The 
publisher said "There's a choral version of Bolero?  Are you sure *we* 
published it?" 

-- 

-----------------------------------------------------------------------
Jack Hamilton   jfh@netcom.com   P. O. Box 281107   SF, CA   94128-1107
Newsgroups: rec.music.classical
From: jim@fuji.eng.yale.edu (James J. Szinger)
Subject: Re: Mozart REQUIEM
Organization: Yale Univerity, Intelligent Sensors Lab, Elect. Eng.
Date: Wed, 22 Jul 1992 13:28:04 GMT

In article <1992Jul22.160953.21552@titan.tsd.arlut.utexas.edu>
colby@tsd.arlut.utexas.edu (Colby Leider) writes:

>Does anyone know of a good recording of this work?
>Does Telarc have a recording with Shaw and the Atlanta S.O.?

I have the Shaw/Atlanta CD of Mozart's Requiem, and IMHO it is
not a very good recording.  Far too much of the time, all that
can be heard are sopranos and the orchestral; the choral ATB are
typically swamped in mud.  The Mariner/ASMF CD is much better.
The different voices in the fugues can actually be heard.

Jim
--
James Szinger                        jim@fuji.eng.yale.edu
From: rodean@hpfcso.FC.HP.COM (Bruce Rodean)
Date: Wed, 22 Jul 1992 00:53:27 GMT
Subject: Re: von Karajan piano concertophobia?
Organization: Hewlett-Packard Co., Ft. Collins, CO.
Newsgroups: rec.music.classical

In article <13325@gazette.bcm.tmc.edu> vshen@cns.neusc.bcm.tmc.edu (N. Vivienne Shen) writes:
>In article <1992Jul15.164441.1@camins.camosun.bc.ca>, dbarker@camins.camosun.bc.ca writes:
>|> 
>|> Well he certainly recorded the Brahms Violin concerto at least twice -
>|> Christian Ferras and Ann-Sophie Mutter. And the Beethoven triple with
>|> oistrakh, Rostropovitch and Richter. There is a live Beethoven 3 from
>|> 1957 with Glenn Gould around on various  Italian labels. Apart from
>|> that, I can't think of anything.
>|> -- 
>
>Not just those recordings of the Beethoven triple, but there's a recording from
>1986 or so with Anne-sophie Mutter, Yo Yo Ma, and I forget the pianist's name.
>It's on DG and a pretty good recording.

The CD Vivienne is refering to is from 1980 and the pianist is Mark
Zeltser.  I have not seen anything else by him, although he apparently
was/is on CBS.  I have this in my collection and it is good.

Bruce Rodean
rodean@fc.hp.com
Newsgroups: rec.music.classical
From: vlad@netcom.com (Vladimir Kuznetsov)
Subject: Re: Mozart REQUIEM
Date: Sat, 25 Jul 92 19:36:46 GMT
Organization: Netcom - Online Communication Services (408 241-9760 guest)

In article <1992Jul24.120720.7785@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
>In article <1992Jul22.160953.21552@titan.tsd.arlut.utexas.edu>, colby@tsd.arlut.utexas.edu (Colby Leider) writes:
>> Does anyone know of a good recording of this work?
>> Does Telarc have a recording with Shaw and the Atlanta S.O.?
>> 
>One to avoid is by Hogwood (sudden thought: Help! Is it?) with the Acacdamy of
>ancient Music orchestra and Men's Voices, the boys of Westminster Cathedral on
i  ... I don't want all these nasty critisisms repeated here ...
>
>-- 
>
>Stephen Wilcox             |   Remember what happened to the dinosaurs!
>wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.

This posting is a good example of when professional (or somebody who 
consider himself as one) thinks that he knows what is the right way 
to perform given piece of music and therefore gets very angry when
somebody does it differently.

I can say only that I heard a number of preformances in last 25 years
live and on records. This one (with Hogwood) I would qualify as the 
best I heard and without any hesitation recommend to anybody
who looks for good recording of this piece.

vlad


-- 
Vladimir Kuznetsov                         (408)252-5455
Natural Intelligence Consulting            vlad@netcom.COM
                                           73437,3344@compuserve.com
From: t8800568@phillip.edu.au
Newsgroups: rec.music.classical
Subject: Good version of 'The planets' by Holst?
Date: 23 Jul 92 00:04:15 GMT
Organization: Phillip Institute of Tech, Melbourne

Hello there.

This question might well have been answered recently in an FAQ or 
otherwise, but could some kind sole recommend a version of 'The Planets'
by Holst?  I really want a copy, but there are so many versions of
this particular piece, that I dont want to be stuck with a dud.

thanks!

-- 
######################################################################### 
#   NAME: Timothy O'Connor.       #  QUOTE: Roses have thorns, shining  #   
#   toc@arcadia.mc.phillip.edu.au.#  waters mud, and cancer lurks deep  #
#   T8800568@phillip.edu.au       #  in the sweetest bud.               # 
#########################################################################
Newsgroups: rec.music.classical
From: marcs@slc.com (Marc San Soucie)
Subject: Re: minimalism
Organization: Servio Corp, Beaverton Oregon, US
Distribution: na
Date: Thu, 23 Jul 1992 00:32:30 GMT

Brian K. Yoder (brian@quake.sylmar.ca.us) writes:

> I'm glad to hear that "minimalism" is not your "favorite" genre, but how 
> can you justify having any desire to listen to it?

Same way some folk can justify having a desire to listen to Mozart.


> P.S. Yes, I am back!

"So what... Big deal..."


    Marc San Soucie
    Portland, Oregon
    marcs@slc.com
From: cubsfan@cultnet.ch (wrobel)
Newsgroups: rec.music.classical
Subject: Re: Minimalists/Andriessen
Date: Fri, 24 Jul 92 16:10:24 GMT
Organization: CULTNET Communication Systems for Art & Science


erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:

> William Alves writes
> > Here's a list of some of the composers who have been inflicted with
> > the minimalist label over the years:
> >
> > [interesting list]
>
>   You left out one of my favorites:  Gyorgy Ligeti.   Although most of 
Ligeti
> compositions would never be confused with minimalism, he himself has noted 
th
> similarity in style between minimalism and some of his compositions, 
unlike
> some of the others on your list,  He even wrote a piece for 2 pianos 
called
> `Self-Portrait with Reich and Riley (and Chopin is there also)' (Forgive 
my
> probably poor translation of the subtitle.)
>
> Ed erwin@lisboa.ks.uiuc.edu
>
> P.S.  Add Michael Torkey as well, the so-called `Second-Generation 
Minimalist

great! But he is anything but a minimalist.  he is a wonderful pianist and
improviser ala Beethoven.  I heard him play Beethoven's Hammerklavier
complete with his own improvisations - it was great.

D. Burton 

.......................................................................
Internet: cubsfan@cultnet.ch
CULTNET (SWITZERLAND) E.V.
INTERNATIONAL COMMUNICATION SYSTEMS FOR ART AND SCIENCE
.......................................................................
From: gt5571d@prism.gatech.EDU (AB RAHIM,HARMAN SHAM)
Newsgroups: rec.music.classical
Subject: I need opinion on Ozawa's recording of Carmina Burana
Date: 29 Jul 92 18:07:00 GMT
Organization: Georgia Institute of Technology

Hi!
	I'm planning to get Ozawa's recording of Carmina Burana.  I
don't remember the name of the soloists but I'm pretty sure that he
conducted Berlin PO.  I welcome any comment on this recording.

	As stated in the Stevenson's Classical Guide, this recording
has received excellent evaluation by major critics.  However, I am
interested to know your opinion about this recording.




-- 
AB RAHIM,HARMAN SHAM
Georgia Institute of Technology, Atlanta Georgia, 30332
uucp:	  ...!{decvax,hplabs,ncar,purdue,rutgers}!gatech!prism!gt5571d
Internet: gt5571d@prism.gatech.edu
Newsgroups: rec.music.classical
From: bill@rsphy7.anu.edu.au (Bill Alford)
Subject: Re: "The Pilgrim's Progress" and "Wuthering Heights"
Reply-To: bill@phys.anu.edu.au
Organization: SCU, RSPhyScE, Australian National University, Canberra
Date: Mon, 27 Jul 92 07:46:28 GMT

In article <CB.92Jul24100415@tamarack13.timbuk>, cb@tamarack13.timbuk
(Chris Brewster) writes:
>In-reply-to: bill@rsphy7.anu.edu.au's message of Fri, 24 Jul 92
07:11:35 GMT
>
>Bill Alford writes:
>
>   ... Hyperion have released a CD of the radio version of The
Pilgrims
>   Progress which I have yet to purchase and have heard a small amount
>   of, but I hope that they (or somebody else) with great empathy for
>   RVW's works will get around to a modern recording of the full The
>   Pilgrims Progress instead of the umpteenth version of the 1812,
etc.
>
>Does this imply that the two versions you've discussed are incomplete?
>If so, how much is omitted?  Also, how do the Hyperion and Boult
>versions compare?  Are they both currently available?

Note that I said >radio< version, a shortened version for radio broadcasting.
As I haven't purchased the Hyperion CD (because it is disappointedly not the
full "opera"), I can't tell you what the differences are, nor do a comparison
with Boult. Both are currently available on CD.

=========================================================================
| Bill Alford,                            | Email: bill@phys.anu.edu.au |
| School Computer Unit,                   | Tel: 61 6 249 2143          |
| Research School of Physical Sciences    | Fax: 61 6 249 1884          |
|     and Engineering,                    |                             |
| Australian National University,         |                             |
| GPO Box 4,                              | "Life's a chain reaction"   |
| Canberra City, ACT 2601                 |                             |
| Australia                               |                             |
=========================================================================
Xref: sparky rec.music.classical:10206 rec.music.misc:20263
From: johnf@Auspex.COM (John Fereira)
Newsgroups: rec.music.classical,rec.music.misc
Subject: Re: Need lyrics to song derived from Dvorak "From The New World"
Date: 22 Jul 92 21:23:21 GMT
Followup-To: rec.music.classical
Organization: Auspex Systems, Inc.

In article <thurlow.711777755@convex.convex.com> thurlow@convex.com (Robert Thurlow) writes:
|I've heard, just once or twice, a song called "Going Home" that
|is written to the melody of the second movement of Dvorak's
|Symphony #9, "From The New World".

You *were* listening to Dvorak's 9th last night weren't you?  See my note
in s.s.

My guess it's not the Ten Years After version of "Going Home".


-- 
+============================================================================++
| John Fereira            "Is that all you ever think about?"                |
| johnf@auspex.com                                                           |
+============================================================================++
Newsgroups: rec.music.classical
From: mjw@Xenon.Stanford.EDU (Michael Wolverton)
Subject: Re: Barber symphony #2
Organization: Computer Science Department, Stanford University.
Date: Thu, 30 Jul 1992 18:20:56 GMT

In article <1992Jul30.173809.9102@CSD-NewsHost.Stanford.EDU> spg@Xenon.Stanford.EDU (Stephen P. Guthrie) writes:
>Has anyone heard Barber's symphony #2.
>There's a recording on Stradivarius that can be had for $4, and it gets a
>good score in the Stevenson guide, but I've never heard a review of the
>work itself (as opposed to the performance and recording quality). How does
>it compare to some of Barber's other symphonic compositions, eg. the violin
>concerto, etc?

I bought it.  It's hard for me to pass up *any* CD at $5.  (Next thing
you know, I'll be buying those "Howie Mandel's Favorite Classical
Music" CDs they're selling now.)

The liner notes for this recording go on and on about how Barber himself
felt this work was substandard, and how he tried to burn the score, etc.
Maybe I was influenced by reading those notes, but I'll have to agree
with Barber.  It's OK, but I don't think it compares with the First
Symphony or any of the concertos.  I have to admit that I haven't 
listened to it a whole lot, so I might still grow to appreciate it more.
All in all, it's not a bad buy for $5 (there are a bunch of fillers
along with the symphony), but I'd recommend plopping down the big bucks
to get the Slatkin recording of Symphony #1 and the Piano Concerto,
or the Yo-Yo Ma recording of the Cello Concerto, before getting this
one.

-Michael
-- 
--------------------------------------------------------------------------
Michael Wolverton                       "Is that clear?"
mjw@cs.stanford.edu                     "No, but it's consistent!"
--------------------------------------------------------------------------
Newsgroups: rec.music.classical,rec.music.makers
From: ehle@leland.Stanford.EDU (Robert Ehle)
Subject: Baritone looking for voice teacher
Organization: DSO, Stanford University
Distribution: ba
Date: Sun, 26 Jul 92 17:24:16 GMT


The subject line pretty well says it all.  I've five years experience
singing church music in chorus, but I think in my heart of hearts I'm
a Mahler freak.  I'm told I have talent.

I am looking for someone on the mid-Peninsula.   
-- 
		
				Rob Ehle
				Stanford University Press
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Pellias
Organization: University of Delaware
Date: Tue, 28 Jul 1992 19:22:26 GMT

In article <1992Jul28.191106.23885@u.washington.edu> lmeissne@milton.u.washington.edu (Loren Meissner) writes:

>Seattle Opera is doing Peillias and Melisadine (I'm probably misspelling this).
>Does anyone have any preferences as to which recording (CD "in print")
>is the best?

Pelleas and Melisande.  (If one is going to be anal-retentive about the
French, the second e in Pelleas and the first e in Melisande should have
acute accents, and "and" should be "et," but life's too short...at least
when typing on a computer, and communicating in English.)

As for preferences, everybody who knows the piece has a favorite
recording, unfortunately they are likely to be all different!  Which is
not much help for you.  Let me simply report that the recording that
turned the tide for me, after a long period of Pelleas-hating and
thinking it the most overrated opera ever, was:

EMI, Herbert von Karajan conducting the Berlin Philharmonic.  Melisande:
Frederica von Stade. Pelleas: Richard Stilwell. Golaud: Jose van Dam.

This hooked me and captured me.  (It helped that I also saw a good stage
production in English around the same time, and finally understood that
the music forms an accompaniment and enrichment to the words, and is NOT
supposed to be self-sufficient.  I knew this about other operas, but was
somehow stupid about this one.)  It is rich and surging, while remaining
Debussian, and all the principals have superb voices and affinity for
their characters.

You will probably also see recommendations for the historic Desormieres
recording, Ansermet, Boulez, Dutoit, and Abbado (not yet released in the
US).  All are of high quality (the opera has fared well in recording),
but for me Karajan and company cast the spell.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: No accounting for taste, Zinka Milanov
Organization: University of Delaware
Date: Tue, 28 Jul 1992 21:43:44 GMT

In article <92197.184017KSSHC@CUNYVM.BITNET> Ken Sherrill <KSSHC@CUNYVM.BITNET> writes:

>When Milanov was bad, she was awful. Going back to a Verdi Requiem at the Met
>in which she feigned passing out after the Dies Irae (around 1958), most of the
>performances I saw her in through her 1965 retirement were pretty bad. When she
> was good -- as in her Desdemonas -- she was magnificent. I think one must lis-
>ten to her 1940s recordings such as the Verdi Requiem and Missa Solemnis with
>Toscanini (and the Act 3 of Rigoletto) and her early '40s Met broadcast of
>Ballo to get a sense of her greatness. 

And even in some of her better recorded performances, like the
much-praised (and justifiably) Trovatore, one must be prepared to take
the bad with the good.  In this case, it's worthwhile doing so:  any
music dependent on the spinning out of a fragile-but-strong lyric line,
she renders with a perfection the angels might envy.  This being so, I
will overlook her occasional fallible intonation and sloppy runs in a
way I might not do for a lesser being.  The same is even more true of
her slightly later Aida recording, in which her only really good scenes
are "O patria mia" and the 2 duets with Radames (plus the "Numi pieta"
bit).  But they are SO beautiful....

>She sang at the Met for over 25 years,
>probably for too long to serve her memory, and I do not think her retirement
>was entirely voluntary.

I never saw her "live" during that time, but I remember a series of
painful broadcasts.  Not uniformly so, of course, and I was probably too
young to appreciate their occasional bursts of greatness.  But to me,
intonation is not "just another factor" to be evaluated in the equation.
If someone pretty invariably produces at least one painfully flat note
per aria (early Caballe and Zylis-Gara are other examples), I really
don't care what else they can do.  The bias of my instrumental
background, no doubt.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: sommerfeld@apollo.hp.com (Bill Sommerfeld)
Subject: Looking for recording of Vaughan Williams "Folk Song Suite" done by a *band*
Date: Thu, 23 Jul 1992 19:44:54 GMT
Organization: Hewlett Packard

I'm looking for a recording of Vaughan Williams's "Folk Song Suite"
performed by a concert band (the original version was written for
"military band"); the only one I've been able to find in the record
stores is a recording of the later arrangement for symphony orchestra,
which just isn't the same.
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Emmanuel Chabrier
In-reply-to: spg@Xenon.Stanford.EDU's message of Fri, 17 Jul 1992 21:23:26 GMT
Organization: pubs
Date: 21 Jul 92 12:33:26 CDT

Stephen P. Guthrie writes:

   In Mahler's opinion, Chabrier was one of the greatest composers of
   the time. What is today's opinion? Other than Espana and Joyeuse
   Marche, what is the best of Chabrier?

Chabrier's "Suite Pastorale" is excellent, especially the gorgeous
Idylle movement.  The definitive recording (if there can be such a
thing) is by Ansermet.  Some other versions, such as Paray and Baudo,
tend to lose the subtlety.  I've read that Chabrier was influential in
the development of...  something or other...orchestration, maybe?  The
services of a musicologist are called for here.

Chris Brewster
cb@cray.com

Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: minimalism
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 23 Jul 1992 16:49:46 GMT

In article <1992Jul23.040252.16150@murdoch.acc.Virginia.EDU> pmy@vivaldi.acc.virginia.edu (Pete Yadlowsky) writes:
>In article <1992Jul22.233534.13435@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:
>
>>>What does this silliness:
>
>>>]	Music				Eating Cookies
>
>>>have to do with this question:
>
>>>>>Why do desires need to be justified? 
>
>>It is often appropriate to ask "Why do you like X?"
>[...]
>>There.  Is that better?
>
>Frayed knot. You're making no more sense than before. The question is not
>"Why do you like X?". Nobody has asked that, and certainly not the Yode-ster.
>It's "Why do desires need to be justified?". Do these look the same to you?
>Perhaps it's because they both start with "Why do". But if we take the rest
>of each, we have two assertions:
>
>	- desires need to be justified
>	- you like X
>
>See, one is a general prescription concerning desire and the other is a more
>concrete statement on the appreciation "you" has for item X. Nobody has
>asked why or if _music_ requires justification, either, as you seem to suppose
>in your peculiar and apparently irrelevant comparison of music and cookies
>(walnut-raisin, if you please). The topic is desire and its, umm,
>justification. Is that better?

>
>--
>Peter M. Yadlowsky              |  Wake! The sky is light!
>Academic Computing Center       | Let us to the Net again...
>University of Virginia          |    Companion keyboard.
>pmy@Virginia.EDU                |                      - after Basho

And my response was:  some kinds of desire require justification
(more properly:  it is often appropriate to ask someone why they
want or like a certain thing) and some do not.  Other things being 
equal, this will depend on the kind of object desired.  

Because listening to music is an activity that fits in to a complex 
array of cultural practices (cough cough) (such as the ones enumerated
in my response, which you saw fit to delete), it is subject to a 
request for justification.  Part of why listening to music is a
"richer" experience than, say, eating cookies has to do with the fact
that there are more things to do with those experiences.

Don't keep insisting that I didn't answer one question ("Why do
desires need to be justified?") when I mean to answer another.

By the way, I meant "X" to range over pieces of music, not
things in general.




Newsgroups: rec.music.classical