HDTenEightyP/NetNews huggingface dataset:
From: richardh@convex.com (Richard Hargrove)
Subject: Plastic recorder recommendations
Date: Mon, 28 Dec 1992 18:27:09 GMT
Organization: Engineering, CONVEX Computer Corp., Richardson, Tx., USA
Keywords: Plastic recorder recommendations
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

Early music netters:

I've been playing soprano and alto recorders for almost a year and am 
considering acquiring a tenor and a sopranino to extend my range.  I 
currently have an Aulos soprano, model 303 and an Aulos alto, model 509.
As an indicator of my current level of skill, I find the various movements 
in the Schott Boismortier Suites for recorder duo, Op. 17 (OFB-5 and 6),
to range from easy to sight read to requiring careful practice to pick
out the rhythm.

I specify plastic because it's my understanding that a good plastic 
recorder is better than a cheap wooden one, and I can't justify the
cost of a good wooden one.

It's also my understanding that the best plastic tenor is the Yamaha
Rothenburg.  I have been trying out an Aulos tenor, model 311, but 
don't like the sound in the upper register - the higher frequency
overtones are much too loud.  Any comments on this before I spring for 
the Yamaha?  Any suggestions for maker and model for the sopranino, 
possibly including don't bother?  Any comments at all?

On a related topic, some of the local recorder players here in Dallas
have said that unless you can get an exceptional instrument, wooden
recorders are generally no longer worth what you pay for them.  Comments?

Finally, I was wondering if anyone has any suggestions on how to handle
condensation in a plastic recorder?  I find that condensation builds up
and constricts air flow after only a few dozen bars of play.  When I
try to draw it out at a convenient time during play (usually during a rest), 
I produce a sound that is not aesthetically appealing.  I also find that
there are times when it is difficult to breathe, draw, and play in the
time allotted.

thanks,
Richard Hargrove
+-----------------------------------------------------------------------------+
| "La musique est une science qui veut qu'on rit et chant et danse"           |
| (Music is a science that would have one laugh and sing and dance.)          |
| -- Guillaume de Machaut (1300-77), both the greatest French poet and the    |
| greatest French composer of his century.  And if this is argument from      |
| authority, let us make the most of it!  ;-)                                 |
+-----------------------------------------------------------------------------+
| USPS: Convex Computer Corp.                             phone: 214/497-4323 |
|       3000 Waterview Pkwy.                                fax: 214/497-4441 |
|       Richardson, TX 75080                         net: richardh@convex.com |
+-----------------------------------------------------------------------------+
Newsgroups: rec.music.early
Subject: RE: RE: **QUICK SINEAD SURVEY PLEASE ANSWER**
From: Giuseppe Cattaneo <OBOE@IBGUNIV.BITNET>
Date: 21 Dec 1992 09:40:00 -0500
In-reply-to: Message of Fri,18 Dec 1992 18:12:06 GMT from <wlambert@SIOUX.UCS.INDIANA.EDU>
Content-transfer-encoding: 7BIT

1) I am not so much interested in Sinead's music
2) But 'political' ideas do not have to affect evaluations on 'music' (if
   music is really on question) ...
3) If the question is business, the matter is money (not ETHICS)
4) Why on EARLYM-L ?
Greetings
Giuseppe Cattaneo - ITALY
From: eduardo@WEIRD.MIAMI.FL.US (Eduardo Rosenfeld)
Newsgroups: rec.music.early
Subject: DETTINGEN TE DEUM
Date: 20 Dec 92 12:21:25 GMT
Content-transfer-encoding: 7BIT

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From: eduardo@weird.miami.fl.us (Eduardo Rosenfeld)
To: earlym-l@aearn-bitnet
Subject: DETTINGEN TE DEUM
 
        Listening to the Handel Dettingen Te Deum as I write this. The
performance is by the Choir of Westminster Abbey and The English Concert. Also
included is the Dettingen Anthem.
 
        I'm trying to get a copy of the new EMI International CD Catalogue. EMI
in its infinite wisdom doesn't export any catalogues to the U.S. They are
available free of charge in the U.K. and also,I presume,on the catalogue. Can
any subscriber to this list help me in this situation by mailing me a copy of
this catalogue?
 
        Not only will I be eternally grateful but I'll be very happy to pay for
the postage with International Reply Coupons or mail a similar item to you
from the U.S.
 
        Please reply in E-Mail to me at my other Internet address:
EDROSENFELD@MCIMAIL.COM
 
HAPPY HOLIDAYS
ED ROSENFELD
Newsgroups: rec.music.early
Subject: Shakespearean Music
From: E7M7GRI@TOWSONVX.BITNET
Date: 22 Dec 1992 17:27:08 -0500
MIME-version: 1.0
Content-transfer-encoding: 7BIT

Brent Chivers:
Thanks so much for the all the info on The Folger Consort recording.  I was
in Washington today, so I stopped by the Folger Library and picked up a
copy of the CD at the gift shop.  It's really great!  Thanks again.
 
Regarding MIDI files of early music: I have a considerable amount of Medieval
and Renaissance Music entered into SCORE (Passport Designs).  I put it there
primarily for the purpose of making transpositions to accomodate various
historical instruments and voices.
Gene
Newsgroups: rec.music.early
Subject: FTP sites for sheet music
From: root@TBF.MUSICNET.UA.EDU
Date: 28 Dec 1992 19:34:11 +0100
Organization: University of Alabama School o' Music
Content-transfer-encoding: 7BIT
Comments: Warning -- original Sender: tag was GONTER@AWIWUW11

BC-> > There is music out there.  Unfortunately I don't know
BC-> > of any archives of _early_ music on the net.  Yet.
 
BC->just the notes, no text.  I wouldn't mind seeing my stuff go into an
BC->archive somewhere, but finding the time to upload it from home and
BC->the FTP it out (hampered by disk quotas on the firewalls) will be a
BC->major undertaking -- assuming that an archive existed someplace....
 
I have the disk space and interest and would like to start such an
archive.  Please reply via email if you have stuff you'd be willing to
upload, either via FTP or via modem; our network is available both ways.
 
Richard L. Byrd
NetAdmin, U of AL School of Music
Sysop, The Bare Facts BBS
rbyrd@tbf.musicnet.ua.edu
---
 ~ OLX 2.1 TD ~ Scotty, Hurry beam me u *+u?+#mY=- NO CARRIER
 
 
---
Origin:  The Bare Facts BBS * U of AL School of Music * @tbf.musicnet.ua.edu
Newsgroups: rec.music.early
Subject: RE: *Very* early music
From: JAMES QUINN <QUINN@GONZAGA.BITNET>
Date: 23 Dec 1992 11:02:00 -0700 (PDT)
X-VMS-Cc: QUINN
Content-transfer-encoding: 7BIT

> Because I was translating from the original text in French, and I wasn't
> too sure the words were the same in English. As a matter of fact, ceramology
> is not in the OED (organology is, of course; apologies to organologists
> worldwide). I suppose it means the study of ceramics.
 
Could it have been "ceremology," the study of ceremonies and ceremonial
behavior?  But that isn't in the OED either.   :-)   (O.K., I admit it,
I'm a neologist!)
 
Don't forget that the word "musicology" was severely ridiculed in the
critical world when it was first coined -- detractors spoke of such
things as "artology" and "paintingology" as obvious corollaries.
 
BTW, I found the article fascinating and appreciate the time you took to
translate it for the list.  I hope the performances turn up on film
somewhere.
 
James Quinn
Quinn@Gonzaga.edu
Newsgroups: rec.music.early
Subject: RE: Recordings of Bach's harpsichord concertos
From: JAMES QUINN <QUINN@GONZAGA.BITNET>
Date: 21 Dec 1992 13:56:00 -0700 (PDT)
X-VMS-Cc: QUINN
Content-transfer-encoding: 7BIT

> Date: Mon, 21 Dec 1992 21:12:47 GMT
> From: Lee Ridgway <ridgway@ATHENA.MIT.EDU>
> Subject: RE: Recordings of Bach's harpsichord concertos
>
> I contend that J. S. Bach, being first and foremost a keyboard player, having
> sons who were first and foremost keyboard players, as well as teaching other
> keyboard players, would have had no trouble composing original keyboard
> concertos. Sure, they may sound stylistically similar to what other instrument
   s
> might do, but face it, most music of that period does - even JSB's!
 
I second this -- I was visiting a friend out of town once, where the
only keyboard available to us at the time was a pretty sophisticated
sampling keyboard -- can't remember exactly what, but it loaded all the
programs off 3 1/2" floppies, and he had hundreds of separate programs
for the thing.  Anyway for fun we did the g min. sonata for flute and
obligato with a very convincing choir in the keyboard, and we were both
astounded at how much it sounded like a cantata.  I don't think it is
possible to deduce much from any superficial similarities between Bach's
keyboard music and techniques he might employ in writing for voices and
other instruments.
 
James Quinn
Quinn@Gonzaga.edu
From: CZ03@MUSICA.MCGILL.CA (CZ03000)
Newsgroups: rec.music.early
Subject: Poppea revisited
Date: 23 Dec 92 05:16:17 GMT
Article-I.D.: MUSICA.23DEC92.11093373.0074.MUSIC
Content-transfer-encoding: 7BIT

In the Monteverdi seminar that just finished here at McGill
University, we spent several classes dealing with the multitude
of questions that arise when one examines L'Incoronazione di
Poppea. Not least of these intrigues is the question of
attribution. Noted scholar Alan Curtis suggests that large
portions of Ottone's role and the final duet ("Pur ti miro") are
in fact the work of some other, younger composer(s). After
conducting a performance of Francesco Socrati's "La finta pazza"
in 1989 (the score was thought lost until its recent re-discovery
by Lorenzo Bianconi), Curtis was convinced that Socrati was the
true composer of the famous concluding duet between Nero and
Poppea. Anyone interested in following up on this research might
wish to read:
     1. Curtis, Alan. La Poppea Impasticciata or, Who wrote the
         Music to L'Incoronazione (1643)?. Journal of the
         American Musicological Society, 42 (1989): 22-54.
     2. the Foreword and Preface to: Monteverdi, Claudio.
        L'incoronazione di Poppea. Alan Curtis, editor. London :
        Novello, 1989.
 
Personally, I prefer the Hickox recording partly because it is so
stark. However, if this was the way it was first performed, we
are left wondering what the string players did for most of the
opera's length. Their music only adds up to about ten minutes.
Others have dealt with this problem by changing the
orchestration, hence the recorders in the N. Harnoncourt version
and the interpolated, non-Monteverdian ritornellos in the Rene
Jacobs recording. By the way, since Jacobs does not credit the
composers of these ritornellos, some people have suggested that
he composed at least a few himself. I would be curious to know
what anyone else has to say. His version of Il Ritorno d'Ulisse
in Patria should be available soon. It will be interesting to see
what he does with it.
 
A final note: A facsimile edition of Socrati's "La finta pazza"
is in preparation according to one source. Has anyone heard
anything further?
 
David Curtis (cz03@musica.mcgill.ca)
Xref: sparky rec.music.early:1819 rec.music.classical:19235
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Newsgroups: rec.music.early,rec.music.classical
Subject: Re: *Very* early music
Date: 22 Dec 92 22:48:12 GMT
Organization: HAC - Johns Hopkins University, Baltimore

In article <9212221908.AA19139@tardis.shearson.com> brekshyn@SHEARSON.COM (Bohdan Rekshynskyj) writes:
>Francois,
> 
>   There is a recording of Greek (and one Roman) music available by Paniagua
> (spelling?).
>I forget the label.  It's most interesting but very low on factual commentary
> which brings
>me to the article you posted.  Is there more technical information on how the
> research was
>done and what theories used?  Is there a recording of this event?  I'd love to
> get my
>hands on it and read it since Classical Greek and Roman civilization are
> interests of mine.

I translated the article in extenso, so there is no further information
from this source; and, according to the article, there is no recording.
You can write to the researcher at the address I gave, and/or find out if she
has any publications in journals (I couldn't find anything in the database
I have access to: one should remember that the incentives in research in
France do not push people toward publishing a lot). I did find the following 
reference in a library catalog, to a book she must have written:

Author:        Belis, Annie, 1951-
Title:         Aristoxene de Tarente et Aristote, le Traite d'harmonique /
                 Annie Belis. Paris : Klincksieck, 1986.
Series:        Etudes et commentaires ; 100.
Notes:         Bibliography: p. 255-260.
Subjects:      Aristoxenus Harmonics.
               Aristotle -- Views on music.
               Music -- Theory -- To 500.
               Music, Greek and Roman -- History and criticism.
Call numbers:  UCB   Main      ML169 .B421 1986

I used to own the recording by Gregorio Panagua and the Atrium Musicae. 
It is fascinating to listen to.  I also found this reference:

Author:   Michaelides, Solon.
Title:    The music of ancient Greece : an encyclopaedia / by Solon
            Michaelides. London : Faber, 1978.
Notes:	  xvi, 365, [1] p., x leaves of plates : ill., music. Includes index.
Subjects:   Music, Greek and Roman--Dictionaries.

-- 

	Francois Velde
Newsgroups: rec.music.early
Subject: RE: **QUICK SINEAD SURVEY PLEASE ANSWER**
From: Bohdan Rekshynskyj <brekshyn@SHEARSON.COM>
Date: 22 Dec 1992 10:15:24 -0500 (EST)
Content-transfer-encoding: 7BIT

---->
---->  Be it a social statement or just the mindless gainsay of a moronic pop
---->  performer, burning a picture of the pope is an open invitation for
 wide-spread
---->  criticism and outrage.  Though not offended personally, I think any
---->  self-respecting Catholic would want to encourage Sinatra to carry out
---->  his threat.
---->
 
Hi!
 
   I think she just went off her rocker.  Never mind being a "skinhead" (great
term in this case, chuckle!) but the idea of tearing up the picture and then
saying that it was for a "social cause" (with no prior history of such
"exhibitions") is, ahem, malarky.  I think she did it because of her cronies
saying it would be "cool" and "politically correct" for her.  It seems to me
that she's pretty unstable (she even began crying on the air).  Too bad I
missed her show, but I saw the one the week after with the picture pasted
back together - what a great idea!
   I can understand the bias people may have against the Catholic church -
but that's pretty much in the past (Thank God for the Lateran treaty).  At
least our's is supposedly founded by St. Peter and Jesus.  The other Christian
"churches" (no offense, but I am not and shall not be politically correct.
That is another word for what the moral majority was in the early 80's)
were based on an adulterer, Henry the VIIIth who threw a temper tantrum when
he couldn't get a divorce.  As for Martin Luther, didn't they reconcile?  I'll
have to re-read that one again...  Have a Great Christmas (no generic
Happy Holidays here - It's either Merry Christmas or Happy Hanukah!) and a good
New Year!
 
 
                                        Bohdan
 
 
 
 
=====================================================================
 
Bohdan Peter Rekshynskyj
 
Consultant
 
Compuserve:  72576.1754@compuserve.com
 
 
 
All promulgations are my own.  No corporate entity has authorization
to represent me.
 
Imprimatur.                                             Nihil obstat.
 
=====================================================================
From: jps8@po.CWRU.Edu (James P. Schwonek)
Newsgroups: rec.music.early
Subject: Looking for a woman to enjoy music with.
Date: 23 Dec 1992 23:25:25 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
Newsgroups: rec.music.early
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Re: Recordings of Bach's harpsichord concertos
Organization: Massachusetts Institute of Technology
Date: Mon, 21 Dec 1992 21:12:47 GMT

In article <84590014@hpl-opus.hpl.hp.com>, knotts@hpl-opus.hpl.hp.com (Tom Knotts) writes: 
|> The 2-harpsichord concerto which survives, is thought to have been a
|> transcription by Bach of his earlier concerto for oboe and violin, now
|> lost.  This alternate version is a reconstruction of what the original
|> might have been. 

I have always been skeptical and downright suspicious of attempts to "reverse
engineer" Bach's keyboard concertos. Historians and performers have long held,
but usually on very scant evidence, if any at all, that most of these are
transcriptions Bach made of concertos no longer extant. 

That Bach re-arranged his material for various uses is undisputed. Compare
the several concerto/cantata movement correspondences with different scorings, or
his transcriptions of other concertos (his own, Vivaldi). Granted that we are
missing (probably) a lot of Bach's music, and among the missing may be different
scorings of the keyboard concertos, whether from earlier models or later
adaptations.

That still leaves a few for which we know of no earlier models in other scorings.
When I listen to reconstructions of some of these, I am usually unconvinced.
Maybe it is my familiarity with them as keyboard concertos, although I am just as
familiar with those alternate versions we do have, or that the performances just
don't grab me, or that I am a totally biased harpsichordist.

I contend that J. S. Bach, being first and foremost a keyboard player, having
sons who were first and foremost keyboard players, as well as teaching other
keyboard players, would have had no trouble composing original keyboard
concertos. Sure, they may sound stylistically similar to what other instruments
might do, but face it, most music of that period does - even JSB's!

In listening to the two versions of BWV 1060, I feel the oboe just doesn't cut it
- maybe if it was a violin or viola (after all, Bach did play viola), it might
sound more convincing. I just find more musical interest with it as a 2
harpsichord concerto.
Newsgroups: rec.music.early
Subject: copyright
From: Richard Wyble <richard.wyble@CHANNEL1.COM>
Date: 21 Dec 1992 14:48:21 +0100
Content-transfer-encoding: 7BIT

> Modern facsimiles I'm not altogether clear about.  My understanding is that
> if you have a facsimile, you can put out your own edition based on it with
> no trouble, but you can't photocopy or scan it and give that out.
 
-> One thing I would add is that I'm not too clear on this point either,
-> and it's something I've always been a little uneasy about.  Being a law
-> school reference librarian as I am . . .
 
This illustrates my pet theory about our present copyright act. It is
intentionally and sufficiently vague enough to be interpreted in many
and devious ways by manipulative attorneys or government bureaucrats.
----------------------------------------------------------------------
 richard.wyble@channel1.com           Richard J. Wyble, Worcester, MA
                       Written 12-20-92 at 15:18
----------------------------------------------------------------------
 
 * 1st 1.01 #885 *
--
Channel 1 (R)   Cambridge, MA
From: ed@titipu.resun.com (Edward Reid)
Newsgroups: rec.music.early
Subject: Re: Phildelphia REn wind Band
Date: Fri, 25 Dec 92 22:48:58 EST(-0500)
Organization: Accuracy, Ltd.
Reply-To: ed@titipu.resun.com (Edward Reid)
X-Mailer: uAccess - Macintosh Release: 1.6v0

JBrandt@AAA.UOregon.EDU (Laurie Brandt) writes:
> I have heard the Philidelphia Renaissance wind Band several times in the
> past week on "Proformance Today" aired over my local PBS readio channel in
> this case KOAC 55O AM. Can anyone tell me more about this group and under
> which lable are they hidding under :-) ?

jml2q@UVA.PCMAIL.VIRGINIA.EDU (Julie Lehrman) writes:
> I also would love to know what other recordings the Philadelphia Renaissance
> Wind Band has made.

Well, I'm more than a little slow catching up to these messages.  But I fell in
love with the Philadelphia Renaissance Wind Band when I spent time in
Philadelphia several years ago, and I still contribute to their support.  And
obviously, I highly recommend them.  They usually give four or five concerts a
year, three performances each, one in Bryn Mawr, one in center city
Philadelphia, and one in Wilmington DE.

I have a 1987 tape called The Muse's Garden.  The publisher is listed on the
label as "Philadelphia Renaissance Records" -- thus private label. 
Unfortunately, they haven't ever sent me a list of recordings available -- I
think I'll ask for it!  Your best bet would be to write directly to

   The Philadelphia Renaissance Wind Band
   739 North 25th Street
   Philadelphia, PA 19130

Edward Reid  (8*}>
  eel:   ed@titipu.resun.com  or  nosc.mil!titipu.resun.com!ed
  snail: PO Box 378/Greensboro FL 32330
Newsgroups: rec.music.early
Subject: sindead - reason at last!
From: Richard Wyble <richard.wyble@CHANNEL1.COM>
Date: 23 Dec 1992 08:12:16 +0100
Content-transfer-encoding: 7BIT

 >    This should not at all be on early-m, so let's drop it!  I'd much rather
 >  discuss
 > Bach, Monteverdi, and Palestrina then get involved in silly Sinead wars!
 > Regards to all for the Christmas/Hanukah season!
 
 
Hear, hear.
 
---------------------------------------------------------------------
 richard.wyble@channel1.com         Richard J. Wyble - Worcester, MA
---------------------------------------------------------------------
 
 * DeLuxe2 1.25 #12515 * Message written Tue, 12-22-92, at 5:41pm
--
Channel 1 (R)   Cambridge, MA