HDTenEightyP/NetNews huggingface dataset:
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: recorded using b&w speake
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 27 Dec 92 16:49:39 EST

  >    Subject: Recorded using B&W speakers

AF>I wonder if B&W speakers can save the world recorded music. Before DG uses
  >B&W speakers, their recordings are usually contricted and tutti is coarse.
  >Sometimes, they have really good recordings, I admit. But after their use of
  >B&W speakers, their recordings are now totally different. They are no longer
  >compressed, constricted. They now have a wide dynamic and frequency range.
  >Some recordings, e.g. Bernstein's late ones, almost want to burn out your
  >speakers. Now, Decca (London), EMI are also adopting the use of B&W speakers
  >I wonder if B&W speakers are really that magical?

It might not be a coincidence that this trend began *after* the death of
Karajan. There was ongoing complaints about lousy sound -- compressed,
constricted, generally unnatural -- during the late 70s and into the
mid-80s in particular. Karajan was *very* influential at DGG and by
extension throughout the Polygram Group.

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
From: fernande@cps.msu.edu (Jose Roberto Fernandez)
Newsgroups: rec.music.classical
Subject: Re: FAVORITE PIANO CONCERTO
Date: 21 Dec 92 16:03:26 GMT
Reply-To: fernande@cps.msu.edu (Jose Roberto Fernandez)
Organization: Dept. of Computer Science, Michigan State University
NNTP-Posting-Host: atlantic.cps.msu.edu
Originator: fernande@atlantic.cps.msu.edu

From the Book of Classical Music Lists (H. Kupferberg, 1985)

New York Philharmonic performances from 1842 to June 1984:

Piano Concertos (only the most played ones available):
-----------------------------------------------------
Beethoven
#5 - 159
#4 - 151
#3 - 114
#1 - 66
#2 - 29
Brahms
#2 - 129
#1 - 109
Mozart
#20 - 65
#23 - 54
#24 - 45
#21 - 44
Schumann - 155
Tchaikovsky #1 - 122
Grieg - 75
Rachmaninov #2 - 54

I have listened to all the above plus a few more, and my favorite
is Rachmaninov's #2 (and among the Beethoven's, #4).  But it all
really depends on my mood and which among my favorites I listened
to last.
-- 
Jose Roberto Fernandez
fernande@cps.msu.edu
Computer Science
Mich. St. Univ.
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re: Anthony di Bonaventura, piano virtuoso-extraodinaire
Organization: MIND LINK! - British Columbia, Canada
Date: Tue, 22 Dec 1992 17:52:12 GMT

> Godfrey Degamo writes:
>
> [A new] thread: Great pianist with a last name longer than 10 letters.
>
(This is getting kind of ridiculous.)

> Someone asked how good is his Rachmaninoff Pre-ludes?


I wonder about his Rachmaninoff Quaa-ludes... (;-)

Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: The BEST finale!
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 24 Dec 1992 20:39:01 GMT

In article <1992Dec23.182017.17335@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>
>For number 5 I suggest you get the new BPO/Barenboim on Teldec: a
>great performance. I also highly recommend the Klemperer 6th on
>mid-priced EMI.



The Klemperer 6 is also among my favorite Bruckner recordings, as
is the Keilberth, most recently available from Teldec.  Pressed to
select just one, I'd go for the Klemperer, although the Keilberth 
boasts luminous sound, immaculate balance, and terrific sweep.
What a gorgeous symphony -- perhaps my favorite of the 9/11.



>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452


Newsgroups: rec.music.classical
From: bili6745@mach1.wlu.ca (bilinsky keith)
Subject: Re: RFV: BRUCKNER RE: THE BEST
Organization: Wilfrid Laurier University
Date: Mon, 28 Dec 1992 09:02:46 GMT


RE:

Now there are at least three of us on this net who like Bruckner's
music.  So we are expecting 297 votes on the "other side" now.

                                                         Stan
----

Make that 396 more votes, Playing Bruckner 4 was an extremly exciting
experience.......

Keith

Newsgroups: rec.music.classical
From: clavazzi@nyx.cs.du.edu (The_Doge)
Subject: Re: Britten: A Midsummer Night's Dream
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 05:02:06 GMT

In article <Bz3nFJ.GKA@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <1992Dec11.003010.21158@iscnvx.lmsc.lockheed.com> benjamin@force.ssd.lmsc.lockheed.com writes:
>
[...]
>Best performance of all, possibly, is the video from Glyndebourne, 1981.
>The production was brilliantly directed by Peter Hall, and the cast is
>marvelous (Bowman, Cotrubas, Lott, Davies, Duesing, Appelgren).
>
	Saw a rather nice production of this here in St. Louis this past
summer, as a matter of fact.  I'll post my review of it if I can dig it up.
As it recall it was quite well sung but not so well enunciated, especially
by Oberon.  If I hadn't played Oberon myself in a production of the play a
few years back, I would have been rather lost (as was much of the audience).
	The score really is fascinating, though, and I thought the use of
Italian opera elements in the mechanicals' "Pyramus and Thisbe" sequence was
inspired!

>Jon Alan Conrad
The_Doge
ObQuote:	"How wonderful opera would be if there were no singers."
			-- Gioacchino Rossini
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Handel's Messiah version 1.4
Date: 31 Dec 92 04:06:13 GMT
Organization: Digital Systems Co., Atlanta GA

I received the following humorous note from Lindsay Cleveland
(dscatl!lindsay@gatech.edu) and thought the rec.music.classical
crowd might appreciate it (as well as start some kind of
discussion or other hoopla):

>  From: Winter Simulation Conference Keynote this week.
>  
>  Keynoter Jim Henriksen (one of 4 keynoters) observed that we were
>  lucky that programmers and composers are different.   Otherwise we
>  might be singing Handel's Messiah, version 1.4 and we might be
>  wondering if Beethoven's 9th symphony was a new release or merely a
>  cost-free upgrade from the 8th.

My response to Lindsay:

Henriksen didn't look closely enough at the analogy.
In the case of Messiah, certainly, we have several 1.* versions
to choose from (and the UC Berkeley recording by which to
digitally realize any of them) that are Handel's own; one
might call Mozart's reorchestration V.2.0 for that matter.
As for Beethoven's Ninth, yes, a new release, but what about
the many reorchestrations done as a matter of course (including
but not limited to Mahler's) by umpteen conductors?
Pop songs (particularly old standards) would be the best
example of "reprogramming," perhaps. :-)

Perhaps Henriksen doesn't realize how many composers ARE
programmers (and how many new electronic music pieces
ARE programs (or represented that way)! :-) )

Cheers,

--Mark

dscatl!mgresham@gatech.edu
=====

Newsgroups: rec.music.classical
From: "bob warren" <bob.warren@canrem.com>
Subject: cd prices
Reply-To: "bob warren" <bob.warren@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 31 Dec 92 02:02:53 EST




AII'm sure most of us here are prepared to pay an amount for the continued
AIrecording of new works and new artists. That's going to be built in.

     The other day while Christmas shopping I noticed on a magazine
  rack a CD catalog from a local firm called CDplus, or cd-PLUS, or
  something like that. I think they're in Mississauga off Dundas
  but haven't actually been there.

    Have you checked them out ? Can you get a good deal there ? Is it
    a form of club ?

       Bob
---
  SLMR 2.1a #1696  childish game: one at which your spouse beats you.
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: shaad@leland.Stanford.EDU (Shaad M. Ahmad)
Subject: Need help finding two minuets by Pezel on CD's
Organization: The Institution for the Casually Insane
Date: Tue, 22 Dec 92 07:52:09 GMT

I've been trying to find what I believe were two minuets by Johann Pezel
on Compct Discs. Any pointers or recommendations would be appreciated.
Thanks.
                                                           
 shaad@leland.stanford.edu                             - Shaad -
 smahmad@pucc.BITNET
 
Newsgroups: rec.music.classical
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Re: electr. in class. music (was Re: Why no amplified solos?)
Organization: University of Illinois at Urbana
Date: Fri, 25 Dec 1992 20:45:31 GMT

jacob@max.cc.brandeis.edu  writes
> 
> 1. the evolution of the technique of singing since the 17th c.
>    was largely driven by opera and the necessity for a soloist
>    to have a large enough sound to be heard in a theater.
>    even if styles other than operatic do not strictly
>    speaking have such requirements, the technique in all areas
>    of art song seems to me to have been influenced by operatic
>    technique. isn't it possible that the requirement
>    for volume makes it so that smaller voices but with very beautiful
>    timbre never make it and we never get to hear them ?..
> 

Many recent composers have explored the new sounds available with amplified  
voices.  Amplifying the voice allows the possibility of using many modes of  
vocal expression previously unavailable in music, i.e. whispering, breathing,  
sighing, laughing, hissing, nasal sounds, grunting, snorting, crying, moaning,  
whistling, humming, ingressive singing, and so forth.  Electronics are also  
used to add reverb, or to set up an echo, or to further process the sound.   
Some composers, like Philip Glass and perhaps Robert Ashley, amplify the voice  
to simply increase the volume so that it can be heard over other amplified  
instruments, but haven't explored the more specialized uses of the voice.

Several groups speciallize in singing this sort of music, often in  
collaboration with a composer.  A few examples: Electric Phoenix, The Fires of  
London, Swingle Singers, and Swingle II.  A few individual singers also come to  
mind:  Cathy Berberian, Meredith Monk, Jan De Gaetani, Joan La Barbara, Michiko  
Hirayama, Diamanda Galas, Tom Waits.  (Can someone help me think of some more  
men?)

A few composers who have worked with extended vocal techniques include:
(Not at all a complete list, and in no order.  The last two might not be  
considered classical.)

John Cage
Karlheinz Stockhausen   Stimmung; Unsichtbare Choere
George Crumb            Ancient Voices of Children
Gyorgy Ligeti           Atmospheres; Requiem; Lux Aeterna
Luciano Berio           A--Ronne; Sinfonia
Meredith Monk           Dolmen Music; Turtle Dreams
Peter Maxwell Davies    Miss Donnithorne's Maggot; 8 Songs for a Mad King
Giacinto Scelsi         Khoom; Canti del Capricorno
Kaija Saariaho          `Nuits, Adieux'
Trevor Wishart

Diamanda Galas          Wild Women with Steak Knives; Plague Mass
Tom Waits               Frank's Wild Years; Bone Machine

`Extended' vocal techniques existed long before microphones, but electronics  
have extended the range of available techniques even further.

Ed erwin@lisboa.ks.uiuc.edu  
Xref: sparky rec.music.classical:19242 alt.fan.maria-callas:1
From: matt@physics2.berkeley.edu (Matt Austern)
Newsgroups: rec.music.classical,alt.fan.maria-callas
Subject: Re: Maria Callas video suggestions...?
Date: 22 Dec 92 16:59:23
Organization: Lawrence Berkeley Laboratory (Theoretical Physics Group)
	<1992Dec22.203746.2557@timessqr.gc.cuny.edu>
Reply-To: matt@physics.berkeley.edu
NNTP-Posting-Host: physics2.berkeley.edu
In-reply-to: kos@cunyvms1.gc.cuny.edu's message of Tue, 22 Dec 1992 20:37:46 GMT

In article <1992Dec22.203746.2557@timessqr.gc.cuny.edu> kos@cunyvms1.gc.cuny.edu (Bob Kosovsky) writes:

> I'm sure people will suggest the two recitals from Hamburg, and the 1958
> Paris Gala (which I don't think is nearly as bad as a previous poster had
> indicated - that Casta Diva is really prime material, whatever its
> drawbacks).

Oh, I have no complaints about Callas's performance of Casta Diva in
the 1958 Paris gala---my complaints are about the orchestra and the
chorus.  And I really do believe that the chorus was a mess.

But in case it wasn't clear: I wasn't saying that this videotape was
bad.  I was recommending it, and quite highly.
--
Matthew Austern                   Just keep yelling until you attract a
(510) 644-2618                    crowd, then a constituency, a movement, a
austern@lbl.bitnet                faction, an army!  If you don't have any
matt@physics.berkeley.edu         solutions, become a part of the problem!
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Favourite Organ Work Survey
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Wed, 30 Dec 1992 15:57:30 GMT


post-baroque: Charles Tournemire's Symphonie-Choral, op.69

T. M. McComb
From: ray.horton@tfd.gwinnett.com (Ray Horton)
Newsgroups: rec.music.classical
Subject: The BEST finale!
Date: 17 Dec 92 11:30:00 GMT
Reply-To: ray.horton@tfd.gwinnett.com (Ray Horton)
Distribution: world
Organization: The Fifth Dimension - Louisville, KY - 502-423-8654

KT>From: stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner)
KT>Newsgroups: rec.music.classical
KT>Subject: The BEST finale!
KT>Date: 16 Dec 1992 15:38:47 GMT
KT>Message-ID: <1gnii7INNibh@master.cs.rose-hulman.edu>
KT>Reply-To: stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner)

KT>What is YOUR favorite ending or finale to a classical piece?

Stravinsky _Le Sacre de Printemps_

Two that WOULD be, but are overplayed:

Berlioz _Symphonie Fantastique_
Stravinsky _Firebird_
---
 . DeLuxe. 1.25 #12024 . I have seen the evidence.  I want DIFFERENT evidence...
                                                                                 
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Urban legends
Followup-To: rec.music.classical
Reply-To: dbrooks@osf.org (David Brooks)
Organization: Open Software Foundation
Date: Wed, 23 Dec 1992 04:30:41 GMT


Another in the same vein.  Sir Thomas was rehearsing a new Delius work with
Fred lurking in the dress circle.  "Was that all right, Fred?", Beecham
called into space.  "Yes, except for the horns, perhaps."

"Gentlemen, we'll try from letter X again..."

"Yes, that was all right," called out Delius.

"Oh, good.  You do know there are no horns in that passage."
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Shine out, fair sun, with all your heat!  Black winter freezes to his seat...
The boneless fish close quaking lies...the stars in icicles arise!
Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: Re: Ockeghem (was Re: Lost Masterpieces)
Organization: HAC - Johns Hopkins University, Baltimore
Date: Mon, 21 Dec 1992 14:23:02 GMT

In article <1992Dec20.064010.22971@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <y1p2b+b@rpi.edu> mccomt@aix.rpi.edu (Todd Michel McComb) writes:
>
>>think of the ideas, the unpublished material, all totally lost.  The fact
>
>True of every composer.  Imagine the improvisations that Haydn or Chopin
>didn't write down.  Think of the 75% of Brahms' work he claimed to have
>burned.

Should we regret those 75%? If, by miracle, we found them, should we publish
them?  There is no doubt we would, but Brahms would probably be spinning in
his grave.  Brahms was a perfectionnist: he only wanted his best output to 
appear, and he did not want to repeat himself.  If he had nothing to say, he
said nothing.  Some creators want us to see only the best of themselves, the
same way we might not like to be seen naked, or coming out of bed.  The 
same problem arises with writers: when critical editions of works are published
with all the first drafts, corrections, mistakes, typos and second thoughts
published in notes or appendices.  They satisfy our intense curiosity about
the creative process, but often violate the creator's privacy.  But then, as
artists they do not belong to themselves, but to us cannibals :-)


-- 

	Francois Velde

Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re: Greatest Conductors: Why?
Organization: MIND LINK! - British Columbia, Canada
Date: Tue, 22 Dec 1992 17:47:04 GMT

> Rob Holzel writes:
> [Bernstein] seemed to enjoy an amazing renaissance toward the end of his
> life.
> Perhaps as he felt the years ebbing away, he felt free to break away
> from the commonplace and venture into uncharted depths.   Perhaps, too,
> (like I read somewhere) his last years found him accepting himself with
> more honesty and clarity than ever before, leading to insights in other
> arenas.  How generous of him to share this bounty with us through the
> music he loved most.  What a wonderful legacy!


I've always liked Leonard Bernstein. When I was a kid growing up in the late
50's and 60's, I was fascinated by his TV programs which took music out of
the stuffy concert hall and into the living rooms of "average folks". (An
added bit of trivia ... my mother was an elevator operator in Vancouver in
the 1940's, and when Bernstein came to town and stayed in the hotel where she
worked, she took him up in her elevator once!) Bernstein always represented a
youthful approach to music, even when he got on in age. I was very sad when
he died (only a couple of weeks after he retired)... I always had this maxim
in my head that "when Leonard Bernstein dies, that means I'm getting old".

From: Frank.Panettiere@f2010.n391.z1.FidoNet.Org (Frank Panettiere)
Sender: UUCP@p0.f1060.n391.z1.FidoNet.Org
Newsgroups: rec.music.classical
Subject: RFV: BRUCKNER RE: THE BEST
Date: 25 Dec 92 08:08:19 EST


 > >99% of the people on the net HATE's Bruckner's music. Even his 
 > contempories
 > >and the critics of his day hated his music. Whenever his music was 
 > critisized,
 > >he changed it !!!  That's why there are numerous 'originals' to 
 > many of his
 > >works. (The 'Bruckner problem' !!!!! )
 >   Ok! Let's call for a vote. I give one vote for Bruckner and I am 
 > quite
 >   sure that the 99 % isn't showing up. However, there is some 
 > experience
 >   that no evidence whatsoever convinces a person who has faith 
 > strong
 >   enough to ignore facts.

OK.  Based on his 0th, 4th, 7th, and 9th Symphonies, and his Te Deum, I'm
another who enjoys, and does not HATE, Bruckner's music.  

Let's see.  If now two of us on this net don't "hate" his music and 99% DO,
then there will have to be 198 votes on the "other side".  I'm waiting to
see that extensive list!   
                                                        Frank

 

 * Origin: The Coop: ARK tradition since '87 501-273-CHIC (1:391/2010)
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: the best finale!
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 26 Dec 92 17:15:53 EST

 >>What is YOUR favorite ending or finale to a classical piece?

U>  OK, I'll add to the morass of opinions on this subject:  the finale of
 >the Tchaikovsky Orchestral Suite #3, the most majestic ending I can think
 >of.

U>   Is anyone keeping track of the votes?  It seems like Mahler is
 >in the lead...
 >________________________________________________________________
 >Howard K. Wachtel              University of Illinois at Chicago

That'll teach me to rush through the mail! Glad to see you mentioned the
Tchaikovsky Orchestral Suites. This is music that is much too often
overlooked. Apparently in earlier days, these suites were among the most
popular of T's works. Nowadays, it's tough to find anyone who knows them
and relatively infrequently be able to locate recordings.

Mercury with Dorati and the New Philharmonia made a splendid release of
these in the 70s. Hasn't made it to CD yet ... there's at lease one
buyer with wallet poised ....!

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
From: suhre@meltami.dsd.trw.com (Maurice E. Suhre)
Subject: Re: Most drawn-out ending (Was: Best endings)
Organization: TRW, INC.
Date: Wed, 23 Dec 1992 22:58:36 GMT

I'm surprised that no one's mentioned the ridiculously long string of E
Major chords at the end of the Ritual Fire Dance, by De Falla.  The
first time I tried that on the piano, my mother came in and thought I
was just screwing around with the ending :-)

-- 
Maurice Suhre
suhre@trwrb.dsd.trw.com
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Bernstein's "Live" Mahler
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 1 Jan 1993 19:14:38 GMT

Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
: > Deryk Barker writes:
: >
: > Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
: > : (come to think of it, my favorite CD store is having a 20% off sale
: > : which ends tomorrow...).
: >
: > Yeah - tell me about it, I just blew $200 in their Victoria branch.
: 
: 
: $200? Sheesh, I only spent about $150! You'll be pleased to know that the
: sale has been extended until January 10th, by the way.

BTW, my favourite store in Vancouver is Sikora's....

: Speaking of CD's and such, I think it would be interesting to hear what
: people got for Christmas, either from others or gifts they gave to
: themselves! I'll tell about mine tomorrow. It's 1:42 in the morning and I'm
: pooped!

Beethoven Symphonies. Carl Schuricht EMI (hey - you can *never* have
	too many sets of the nine!)
Beethoven Symphonies 5 (1933) and 3 (1939) Toscanini. Music & Arts.
Brahms Symphonies. Weingartner. EMI
Dvorak Symphony No.9 & Serenade for Strings. Talich. Supraphon.
Elgar, Coates, Parry. Menuhin/Boult. Boult's 80th birthday concert. ASDisc.
Godowsky Piano Works. Rian de Waal. Hyperion.
Shostakovich: Symphony No.10. Leningrad PO/Mravinsky. Saga.
Shostakovich: Symphony No.12. Leningrad PO/Mravinsky. Erato.

Happy New Year to one and all.
--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: Bruckner
Date: 30 Dec 92 05:32:05 GMT
Organization: DSC Communications Corp, Plano, TX

I do not hate Bruckner - the man or his music.

Gerry Palo (73237.2006@compuserve.com)
From: gt0963d@prism.gatech.EDU (Deeptendu Majumder)
Newsgroups: rec.music.classical
Subject: Ave Maria in Prizzi's Honour
Date: 26 Dec 92 00:10:42 GMT
Organization: The Dream Chasers Syndicate

It has been quite a while since I saw the movie. There was a
wedding scene with Ave Maria being sung in the background. Can
anybody tell me who was singing that version and is the soundtrack
(if available) the only source for that particular rendition.

many thanks
d.
-- 
------
"Like a harsh neon streaking  through the velvet darkness 
the whetted knife of Life tore its path through her Dreams"
Newsgroups: rec.music.classical