HDTenEightyP/NetNews huggingface dataset:
From: asbed@sol.usc.edu (Asbed Bedrossian)
Newsgroups: rec.music.classical
Subject: Re: haydn symphony recommendations
Date: 1 Oct 1992 19:12:32 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: sol.usc.edu

In article <hudu.717923267@well.sf.ca.us> hudu@well.sf.ca.us (Scott Marley) writes:
>
>I can't think of any movements in Mozart's symphonies that don't have some
>sort of parallel somewhere in Haydn's; but where in Mozart can you find the
>structural innovation in Haydn's "Lamentations" symphony, "Farewell"
>symphony, "Hornsignal" symphony, and "Military" symphonies?  Where is the
>equivalent in Mozart of Haydn's experiments in sonata and sonata-rondo
>forms?  Where does Mozart ever make you laugh out loud the way Haydn so
>often does?
>Scott Marley

There's no doubt that Haydn covered a lot more ground than Mozart, and
this message is not to debate the issue.

But all this discussion we ended up with, comparing Haydn and Mozart, I
haven't seen a sungle person take into account that Mozart lived 35 years,
and assuming that his first composition was at 8 years old, that gives a
musically creative life of 27 years, lumped at the start of the life.

Haydn lived to be 77, with a creative life of some 60 years. We surely can't
dismiss the amount of growth and change that a person undergoes through so
many years. Interests change; boredom, repetition, comfort all change one's
perspective. If Haydn experimented more, it was probably because he had the
time and the luxury to do so. The surprise (again, my example) could ONLY
have been written by a man who has written a million symphonies before, and
absolutely absorbed the routine of the audience. To me, Haydn's excellence
and genius is not different or above or below that of Mozart's; it just was
channeled differently through influence of his time-space environment. What
would a 60 year old Mozart have written?

I am not a specialist in all this musicology and comparison department.
Would someone care to elaborate on the amount of growth and experimentation
and variety in Haydn's output in the 25 or so years after his first
composition, and compare _that_ with Mozart?

:ll
From: dtt@mitisft.Convergent.COM (Duc Tran)
Newsgroups: rec.music.classical
Subject: Piano touch
Date: 28 Sep 92 20:09:06 GMT
Organization: Unisys Unix Systems Group, San Jose, CA

Hi:

I like to ask anyone who play classical music well and have any comment of
the touch of the upright versus the grand piano.

I understand that most recording piano solo is recorded from the grand piano.
And professional pianist uses grand piano for the tonality. I wonder whether
an upright piano's touch is sufficient to interprete the music to the extend
that the grand is capable of? (Besides the voice and some others.)

I play some brand name grand pianos and see a difference but I don't know
whether it helps in interpreting to the professional level.
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Mahler and all that Rott
Date: 28 Sep 1992 15:54:22 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

I have to confess that my liking for Mahler (such that it is) was
tempered when I heard the Rott. I first heard about the piece in the
Spectator' Clasical music column, and was prepared, but I must confess I
got a shock.

I think the Rott is a wonderful piece. I have the Hyperion version,
which is magnificient. Does anyone have anything to say about the new 
BIS recording?
Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel)
Subject: Manfred Kleins
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Date: Mon, 5 Oct 92 22:43:29 GMT

Has anyone heard of Manfred Kleins?  I understand that
he is a scientist doing extensive research into the
emotional effects of music?  I believe he was in
Australia for the last 10 years or so doing some
work.  

Any details?

Ron
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Mahler 1
Date: 1 Oct 1992 11:18:53 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

My favourite (the spirit of Mahler forgive me) is a wierd version on
Supraphon - and old (celebration of prague - 400 years or some such). I
can't remember the details. But the music played is pure Klezmer. (da da
da DA DA... ) 

Other than that - I like a recent version by the Ljubliana
Orchestra. It's a filler to the 2nd on a double CD , but it's really 
beautiful. (I think it's Classsica edition and it's a cheapie).
Newsgroups: rec.music.classical
From: alco@cs.vu.nl (Alco Blom)
Subject: New England Bach Festival : When ?
Organization: Fac. Wiskunde & Informatica, VU, Amsterdam
Date: Mon, 5 Oct 1992 08:36:11 GMT

Does someone know when the New England Bach Festival will 
be held ?

If it is in the last week of October, can someone give
some info about dates, places and performances ?

Thanks,

Alco Blom
Amsterdam, The Netherlands
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: voice training and sinus conditions
Date: 28 Sep 92 15:09:15 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <BEH.92Sep22235321@geech.gnu.ai.mit.edu> beh@geech.gnu.ai.mit.edu (Bruce Howells) writes:
>In article <47074@dscatl.UUCP> mgresham@dscatl.UUCP (Mark Gresham) writes:
>   AXIOM TWO:  There is far more to good singing than opera.
>   (Watch the flames emerge for that! :-))
>
>YES!!!!  Like art song, musical theatre (when done properly), oratorio,
>folk song, and just plain good technique... opera is not always the best
>route for any singer, but especially for "young" ones.

Actually, it is really the best route for only a small minority of
singers.  What I resent is the idea that if you do not "strive in
the direction of operatic singing" that you are not a singer, and
the idea that "classical technique" equals "operatic technique" or
equals "bel canto" or whatever.
  I would also like to point out that "classical" singing does not
equate to "solo singing," or the idea that the only desirable (or
possible) goal as a professional is one of singing solo.
  (The whole issue of various "popular styles" aside, as
the great differences in some stylistic elements are often
dismissed in a discussion as simply "style" and pooh-poohed as
aberrations of technique...no, it is basic assumptions about "classical"
technique, pedagogical attitudes and *desirable goals* that
is at the core of my commentary.)

Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
Newsgroups: rec.music.classical
From: hudu@well.sf.ca.us (Scott Marley)
Subject: Re: haydn symphony recommendations
Organization: Whole Earth 'Lectronic Link
Date: Thu, 1 Oct 1992 07:07:47 GMT


Mozart a more imaginative symphonist than Haydn?  Lord knows Mozart's
symphonies are magnificent, but Haydn runs circles around Mozart in the
imagination department: Haydn's symphonies are full of innovations,
surprises, insights, and witty gimmickry far more than Mozart's; he wrote
brilliant symphonies in far more styles than Mozart; he made his symphonies
achieve far more varied purposes than Mozart; and he kept it up consistently
over a much greater quantity of work than Mozart did.

I can't think of any movements in Mozart's symphonies that don't have some
sort of parallel somewhere in Haydn's; but where in Mozart can you find the
structural innovation in Haydn's "Lamentations" symphony, "Farewell"
symphony, "Hornsignal" symphony, and "Military" symphonies?  Where is the
equivalent in Mozart of Haydn's experiments in sonata and sonata-rondo
forms?  Where does Mozart ever make you laugh out loud the way Haydn so
often does?

If you want to argue that Mozart surpassed Haydn as a symphonist in other
ways, you could certainly come up with a good argument.  But imagination?
Come on, don't make me laugh!

Scott Marley
hudu@well.sf.ca.us
From: dgottli1@cc.swarthmore.edu (Daniel Gottlieb)
Newsgroups: rec.music.classical
Subject: Re: Strauss reissues
Date: 5 Oct 92 20:53:03 GMT
Article-I.D.: cc.KNDRBVXT
Organization: Swarthmore College

In article <1992Sep30.181512.17887@fid.morgan.com>, steve@fid.morgan.com
(Steve Apter) writes:
> 
> 
> 	Legendary Strauss Recordings
> 	RCA 09026 60929 2
> 
> 	disk 1: Ein Heldenleben, Mengelberg/NYPO (1928)
> 		Also Sprach Zarathustra, Koussevitzky/BSO (1935)
> 
> 	disk 2: Don Quixote, Beecham/NYPO (1932)
> 		Tod und Verklarung, Stokowski/Philadelphia (1934)
> 		Aus Italien, Stock/CSO (1941)
> 
> These are all medium-priced issues.  The RCA set is reviewed
> in both this month's Gramophone and the latest Fanfare.
> 
> Oh we, the lucky few.
> 

Having paid for the recent D.G. "Strauss conducts Strauss" 3 C.D. set, I
can
strongly reccoment that it be avoided for the most part.  Any listener who
has an intense interest in Strauss' own interpretation will be interested
regardless of the quality, but the sound is pathetic, and the actual
playing
is for the most part extremely weak.  I realize the historical value, and
this
set is clearly great history, but it's pretty bad listening.  
																							Daniel
From: inr@zardoz.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: mendelssohn octet
Date: 1 Oct 1992 15:48 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: zardoz.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

 I have the old version by the Melos Ensemble, which I think was
just re-released on Decca. There's also a fine version by the
Vienna Octet.

 Neill Reid
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: haydn symphony recommendations
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 2 Oct 92 16:19:26 GMT

Asbed Bedrossian writes:
>
>Haydn lived to be 77, with a creative life of some 60 years. We surely can't
>dismiss the amount of growth and change that a person undergoes through so
>many years. Interests change; boredom, repetition, comfort all change one's
>perspective. If Haydn experimented more, it was probably because he had the
>time and the luxury to do so. The surprise (again, my example) could ONLY
>have been written by a man who has written a million symphonies before, and
>absolutely absorbed the routine of the audience. 

     1.	I'm especially fond of Op. 1021393!!!  8-)
     2. How many million symphonies did Beethoven have to write before
   he could come up with the Eroica?  
     3. I don't buy the argument that lots of experience leads to lots
   of experimentation.  It seems the opposite is as likely to occur.  
   That after a hundred symphonies, you would think that Haydn had run
   out of ideas, but happily for us, that didn't occur.  

>To me, Haydn's excellence
>and genius is not different or above or below that of Mozart's; it just was
>channeled differently through influence of his time-space environment. What
>would a 60 year old Mozart have written?

     In-a-Gadda-Da-Vita, baby????

John D.    

Newsgroups: rec.music.classical
From: packer@amarna.gsfc.nasa.gov (Charles Packer)
Subject: Speaking of the Ring -- without words
News-Software: VAX/VMS VNEWS 1.4-b1  
Organization: Dept. of Independence
Date: Wed, 30 Sep 1992 12:02:00 GMT

I acquired Lorin Maazel's "Ring Without Words" CD recently.
His notes say that there is not a note that's not Wagner
in his condensation of the "Ring" operas into one long
symphonic piece. 

This makes me wonder now about the excerpts I've been familiar
with for such a long time as recorded by Szell, for example.
They are much more set pieces, with endings, etc. I don't know
the operas themselves, so I ask: do they include some tinkering
to give them a "standalone" capability, or do they simply
represent a different pattern of selection than the Maazel
version?
Newsgroups: rec.music.classical
From: marca@ncsa.uiuc.edu (Marc Andreessen)
Subject: Re: Mahler 9 (was Re:Mahler 1)
	<459QBRRW@cc.swarthmore.edu> <1992Oct2.205133.6116@spang.Camosun.BC.CA>
	<ld0kr7INNgob@news.bbn.com>
Organization: Nat'l Center for Supercomputing Applications
Date: Mon, 5 Oct 1992 16:22:42 GMT

In article <ld0kr7INNgob@news.bbn.com> delatizk@bbn.com (Jonathan
Delatizky) writes:

   Deryk - perhaps you'd like to post a list of Horenstein recordings
   (not just of Mahler) that are recommendable.  Of the relatively
   small number that are available, several are handicapped by poor
   sonics or poor playing.  I'm generally reluctant to shell out the
   $$ for a recording which may be of dubious quality, unless I know
   upfront what I'm getting, which is hard in the case of most live
   and semi-pirate older and historic recordings.

Dvorak's 9th and Wagner's Siegfried Idyll & Flying Dutchman on
Chesky... yow!

Marc

--
Marc Andreessen
Software Development Group
National Center for Supercomputing Applications
marca@ncsa.uiuc.edu
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Bach Cello Suites on Period Instrument: Rec. Wanted
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 6 Oct 1992 21:03:17 GMT

In article <1992Oct6.065125.8678@midway.uchicago.edu> pkbockus@gsbphd.uchicago.edu (Keith Bockus) writes:
>I'm looking for a recording of the Bach Cello suites
>on a period instrument, but haven't found any 
>recommended recordings.  Any suggestions 
>(or reasons why I should not be looking for
>such a thing)?
>
>Thanks in advance!
>
>Keith Bockus 

Peter Wispelway's recording of the suites on Channel Classics
is stunning on all counts.  Go for it.

Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Bruno Walter's Mozart recordings
In-reply-to: kos@cunyvms1.gc.cuny.edu's message of Sun, 27 Sep 1992 15:38:44 GMT
Organization: pubs
	<1992Sep27.153844.7529@timessqr.gc.cuny.edu>
Date: 28 Sep 92 15:19:18 CDT

Bob Kosovsky writes:

   My suggestion is to pass over [Walter's Mozart] and get a
   more contemporary conductor.

Yeah--Klemperer.  (Well, so what if he's no more contemporary than
Walter.)

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Pennington Registers Big Success With Twin Operas at Lowell
Organization: Mail to News Gateway at Wang Labs
Date: 01 Oct 92 01:26:39 EST

LOWELL, MA--September 28, 1992--The Boston Conservatory's Bradley
Pennington registered a big success Sunday with his twin Lowell
Opera production of Cavalleria Rusticana and I Pagliacci.

The large audience particularly enjoyed the performance of Priscilla
Rush and Baritone Peter Aldrich, especially in their duet.

Another shining star was Yu-Xin Li as Turrido, demonstrating quite a
powerful voice.  He is under contract with New York City Opera to sing
Don Jose on tour.  Other impressive performances were turned in by
Ricardo Martino, Daniel Fusconi, Leonard Keirstead, Florenza Azzone
Small, Gladys Miles Rodriquez and Virginia Bomil.

Mr. Pennington, both a teacher and accompanist, is in his 17th year
on the faculty of the Boston Conservatory and in his fourth
teaching at Northeastern University in Boston.  His performance on
the piano was another highlight of the afternoon.

by Michael.Willett@OFFICE.Wang.com
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.classical
Subject: Eerie Music (was Re: rec.music.classical FAQ)
Date: 28 Sep 1992 19:36:10 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

In article 8005@hubcap.clemson.edu, epohl@hubcap.clemson.edu (Erik Alan Pohl) writes:
>also, can anyone suggest compositions which share the same eerie, morbid
>   themes or feel (yeah, subjective i know) of Night on Bare Mountain,
>   the Sorceror's Apprentice or the Danse Macabre? The music need not be
>   programmatic  to suit my tastes if it contains a dark feel...

If I remember correctly, try Poulenc's Concerto for Organ and Orchestra
for good halloweeny feel.

Also, there's a piece by Kagel for organist and two assistants 
(perhaps titled "Improvisation Adjutee"?) that was recorded in the
late 1960's on a Columbia Odyssey disk of new music for organ.
The two assistants run around "preparing" the pipe organ as it's
being played, and shriek and laugh like maniacs frequently.
I played that as background music for trick-or-treaters one year.

More in the mainstream, check out Liszt's Mephisto Waltzes--four
for piano and at least one orchestrated.  Another eerie piece by
Liszt for piano is "Czardas Macabre."  Inspired by that piece,
during a wild west event, I played saloon piano under the name
Sourdust McCobb.

--James Langdell        jamesc@eng.sun.com
  Sun Microsystems      Mountain View, Calif.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Mahler 1
Organization: Camosun College, Victoria B.C, Canada
Date: Sun, 4 Oct 1992 17:56:05 GMT

In article <1992Oct4.012602.20836@cucs5.cs.cuhk.hk> bmtong@cucs11.cs.cuhk.hk (Tong Bo-Ming) writes:
[....]
>	I don't think there is a better Bruckner 8th than Giulini.  His 9th
>(DG) is also great, except the recording.  Why didn't he record a complete
>cycle, or the 7th at the very least ?

He did - the 7th with the VPO is on DG 419 627-2. (Or my copy is anyway).

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.classical
Subject: Need Marty Haugen Into
Date: 30 Sep 1992 17:53:41 GMT
Organization: Sun Microsystems
Distribution: ba
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

Does anyone have information about a church music workshop with
Marty Haugen, to be held in Palo Alto (or maybe Menlo Park)
on October 9 and 10?

I saw a flyer, noted the date, but have no memory of the
place or the sponsor.  

If you happen to know about this, please let me know more.
My phone number is 408-298-9351.

(Haugen, by the way, has composed liturgical music that has proved
very effective in both folk and more classical realizations.
Most of his works, such as "Mass of Creation", are published by
GIA in Chicago.)

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



From: Frank.Panettiere@f2040.n391.z1.FidoNet.Org (Frank Panettiere)
Sender: UUCP@p0.f1060.n391.z1.FidoNet.Org
Newsgroups: rec.music.classical
Subject: Re: Bottom five classical recordings! (THE BOTTOM)
Date: 26 Sep 92 20:59:00 EST

* In a message originally to All, -Unknown- said:
--> From: Bill_P_Pearce@cup.portal.com
--> Newsgroups: rec.music.classical
--> In article <1992Sep21.181453.22461@nic.funet.fi> Miika
--> Asunta mentions
--> the Florence Foster Jenkins recording Glory of the Human
--> Voice as now
--> being on CD and rates it the worst classical recording made.

Tell me what company is selling it, and the record number.  I had lost all
hope that I'd ever be able to get a copy of this "priceless" example of
whatever??  I was one of those unfortunates who missed her performances and
have wanted to get a recording for >30 years.

                                                            Frank

 * Origin: The Human Interface * V.32bis/HST16.8 * 501-271-0179
(1:391/2040)
Newsgroups: rec.music.classical
From: alan@highlite.uucp (Alan McConnell)
Subject: V.Monti, who he?
Organization: Gotham Communications Research
Distribution: rec.music.classical
Date: Tue, 29 Sep 1992 00:54:48 GMT

Yes, of course, the composer(?) of the _most_ celebrated
Czardas in music(Flame Away!).  But who was he? when live?
other pieces? etc etc.  Does the "new" Grove have anything?
My inherited 3rd ed(1935) sure doesn't . . . help!
Alan McConnell
-- 
Alan McConnell             "What wondrous life is this I lead!
Pixel Analysis              Ripe apples drop about my head . ."
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: SUMMARY: modern liturgical music
Date: Sat, 26 Sep 92 18:12:48 EDT

In <1633@cogsci.ucsd.EDU> baldwin@cogsci.ucsd.EDU (Ken Baldwin) writes:
>Messiaen's "Trois Petites Liturgies de la Presence Divine", despite the
>title, are something I can hardly imagine ever being used liturgically, but
>they are so spectacularly over the top you've just GOT to hear them anyway.

It might be appropriate to point out that Messiaen wrote the text to
this work...
-- 
*-------------------------------------------------------------------------*
#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Re: Orchestras/conductors
Organization: Camosun College, Victoria B.C, Canada
Date: Tue, 6 Oct 1992 17:20:11 GMT

In article <22810020@hpgrla.gr.hp.com> rms@hpgrla.gr.hp.com (Rick Scherer) writes:
>I have been trying to collect the same information.  Here is my current list:
>
[....]
>Montreal		Dutois
That's Dutoit.

>N. Y. Philharmonic	Boulez
Was Boulez around 20 years ago, then Mehta - for an eternity - and is
now Kurt Masur. 

>Toronto		Davis
Was Andrew Davis (not Colin), has been Gunther Herbig for a couple of
years. 

Vancouver SO - Sergiu Commissiona.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
From: rmb@cunyvms1.gc.cuny.edu (Robert Braham)
Subject: verdi in _Cape Fear_
Reply-To: rmb@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Mon, 5 Oct 1992 11:55:28 GMT

Just saw (3x) Scorcese _Cape Fear_: wonderful, provocative
Elmer Bernstein score (at first kind of off-putting--campy(?),
but that's another issue).  My question is this:

In the opening shot of the prison cell of Katy, the vengeance
obsessed Bad Guy (don't worry, I won't give anything away),
we see pinup photos of various martyrs, a large portrait
of Stalin, and one, I believe, of Verdi.  Towards the
middle/end of the movie, Katy is on his way to do Bad Things,
and flips through the car radio untill he gets a station he
likes; finally he settles on one playing, what sounds like
an early opera chorus of Verdi.  In a movie as intelligent
as this one, every little bit counts--I didn't see any
credit-line about which excerpt this was.  

Does anyone know from which opera (if indeed it is by Verdi) the
chorus was?  It probably has a nice resonance w/ themes of
the movie.

Thanks,

--
Robert Braham   |   Graduate School of the City University of New York
| Internet: RMB@cunyvms1.gc.cuny.edu |           1315 Third Ave., 4D |
| Bitnet:   RMB@cunyvms1.bitnet      |           New York, NY  10021 |
| Fidonet:  1:2603/105                Voice/data/fax: (212) 879-1026 |

Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Speaking of the Ring -- without words
Organization: School of Computer Science, Carnegie Mellon
Date: Tue, 6 Oct 1992 18:14:01 GMT

In article <30SEP199208021305@amarna.gsfc.nasa.gov> packer@amarna.gsfc.nasa.gov (Charles Packer) writes:
>I acquired Lorin Maazel's "Ring Without Words" CD recently.

More residuals for the Berlin Phil.  We in Pittsburgh have taken this piece on
tour many times in the past few years and we don't get the residuals.  Life is
so unfair, sometimes.
>
>This makes me wonder now about the excerpts I've been familiar
>with for such a long time as recorded by Szell, for example.
>They are much more set pieces, with endings, etc. I don't know
>the operas themselves, so I ask: do they include some tinkering
>to give them a "standalone" capability, or do they simply
>represent a different pattern of selection than the Maazel
>version?

Many of the set pieces as you call them simply have endings that are not
Wagner's.  Final chords, for instance, instead of leading directly into the
following section.


Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Trio