HDTenEightyP/NetNews huggingface dataset:
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Die Meistersinger
Organization: University of Delaware
Date: Fri, 14 Aug 1992 20:12:18 GMT

Having bored the pants off everyone with my MEISTERSINGER discography, I
must nevertheless add something more:  EMI is planning another new
recording (its fourth!) to be recorded early in 1993.  The elements I
have heard so far sound promising.

Conductor:  Wolfgang Sawallisch
Eva:  Cheryl Studer
Beckmesser:  Dietrich Fischer-Dieskau  (yess!!!)

Anyone for speculating about the other roles?  (Or has anybody actually
heard anything definite?)  I can't refrain from some ideas:

Sachs:  Jose van Dam?  James Morris?  Robert Hale?  Bernd Weikl, God
  forbid? (or will Sawallisch go with his [boring] standby, Alfred Muff?)
Walther:  yikes.  Well, who?  Richard Leech?  Paul Frey?  It's too high
  for Siegfried Jerusalem et al.
Pogner:  Gwynne Howell?  Robert Lloyd?  Kurt Moll again?
David:  Here's where we need the stature of a Francisco Araiza, or
  John Aler, or Anthony Rolfe Johnson, or Gosta Winbergh
Magdalene:  Hanna Schwarz?
Kothner:  EMI has a contract to use Thomas Hampson in everything
  imaginable; well, here's the role for him.

I know, dream on....

Jon Alan Conrad
From: ahsiung@bbn.com (Anita Hsiung)
Newsgroups: rec.music.classical
Subject: Re: Sightreading and Computers
Date: 19 Aug 92 18:41:49 GMT
Article-I.D.: news.l955fdINN8k6
Reply-To: ahsiung@labs-n.bbn.com (Anita Hsiung)
Organization: Bolt Beranek and Newman Inc., Cambridge MA
NNTP-Posting-Host: bbn.com


Chris Barber writes:
>jacob@max.cc.brandeis.edu ( ) writes:
>
>>Nobody has made that very clear as if sightreading was a goal in itself,
>>whereas I believe as a skill in itself sightreading is a pretty useless
>>skill to have. Sightreading is a means to an end and that those ends were
>>not made exteremely explicit by those who were interested in sightreading...
>
>(stuff deleted)
>This is because when you learn
>to sight read, you aren't merely learning how to play the notes on the page,
>you are learning what notes are likely to be there given the style you are
>playing in! Given a good enough knowledge of the style, it is not absolutely
>necessary to look at every note. In fact, researchers in music psychology have
>found that advanced sightreaders will often "correct" notes which don't match
>their stylistic expectations.

This is very true.  To use jazz/ragtime as an example, if you pick up
any beginner notebook, it will introduce you to the basic styles of
the music, the walking bass, the syncopated bass, etc.  Once you're
used to jumping around in the left hand and the chord changes, all you
really need to concentrate on is the melody.

An understanding of the music will help you know what you can "leave
out".  I know that when I sight read for singers in an audition, I
never try to play _all_ the notes.  If it's a catchy Broadway tune,
you basically already know the general notes (given the key and
whatnot).  Knowing the style of music you will be playing is one of
the most important skills in sight reading.

	-- Anita --

---------------------------------------------------------------------------
| Anita Hsiung       | "See how easy life can be?" -- Johnathan Raven     |
| ahsiung@bbn.com    |                                                    |
| BBN Canoga Park    | "Someday we'll look back on this moment...and      |
| California, USA    |  run smack into the car in front of us."  -- Ski   |
---------------------------------------------------------------------------
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Bulent Arel
Date: 19 Aug 1992 16:13:50 GMT
Organization: CS Division, UC Berkeley
Distribution: world
NNTP-Posting-Host: ginkgo.cs.berkeley.edu

In article <2aqqPB1w165w@west.darkside.com>, k@west.darkside.com (K) writes:
|> Hello, I am rather new to this Usenet thing...
|> I shall come straight to the point:  I am a composer interested in 
|> finding other composers who appreciate the music of Bulent Arel.  Has 
|> anyone here even HEARD or Arel??

Yes.  I heard some pretty good "early" electronic music of his quite a
while ago -- the piece I remember was based on the sound of twanging
rubber bands.  Can you point us to other good, possibly more recent
pieces?

	Vance

PS.  I also heard he didn't get along with Ilhan Mimaroglu....
From: givler@bermuda (Greg Givler)
Newsgroups: rec.music.classical
Subject: Re: Wedding music suggestions?
Date: 18 Aug 92 15:15:28 GMT
Organization: Another Amiga UNIX System

In article <7131@lib.tmc.edu> garretso@oac.hsc.uth.tmc.edu (Leon T. Garretson) writes:
>In article <1992Aug17.045435.20152@Princeton.EDU> mikulska@astro.Princeton.EDU (Margaret Mikulska) writes:
>>>In article <1992Aug16.144811.9375@Princeton.EDU>, roger@phoenix.Princeton.EDU (Roger Lustig) writes...
>
>----------------- flames deleted -----------------
>
>>Besides, the original poster asked for suggestions.  And guess what: one
>>of the purposes of USENET is to exchange opinions, especially when the
>>opinions are informed.  Nobody is forcing anybody to take those opinions
>>into account, though.
>>
>	OK here's a suggestion. Widor: Toccata from Symphony #5 (?) for
>	organ. Pretty tough to play but on the occasions I've heard it
>	at weddings the bride and groom had to wait on the steps of the
>	church for the guests to leave as they all sat there entranced,
>	listening to the music. A REAL BIG BLOW as some would say.

I have long since lost the original to this, so let me make my suggestions.
At my own wedding 10 years ago we had the following music:

Pre-Music Soprano Soloist: 

Du Ring auf Miene Finger, in English, for the benefit of the guests.
	Both my wife and I were voice majors. This is by Schumann from 
	Frau Leiben und Leben. One of my favorite art songs.

Perhaps Love, by John Denver, OK, OK, I know, but it is a nice song.

Processional: Clarkes Trumpet Voluntary

During Service: The Lord's Prayer by Malotte

Recessional: In dir ist Freud (In Thee is Joy) J.S. Bach. I heard this
done by another organist at a wedding I had sung at, once, and decided 
that that is the way it should end. It is different and joyful, just 
what should be played at the conclusion of a wedding. 

>
>	Leon

I don't think that the music made a difference, but I have been 
happily married now for ten years, so something must be working.

Greg

-- 
Greg Givler                 | "If you're not going to kill me,
Commodore Product Assurance | I have things to do." - From Darkman
givler@cbmvax.commodore.com |
===============================================================================
From: knotts@hpl-opus.hpl.hp.com (Tom Knotts)
Newsgroups: rec.music.classical
Subject: Re: Bach music for solo strings
Date: 12 Aug 92 17:04:19 GMT
Organization: HP Labs, High Speed Electronics Dept., Palo Alto, CA

> 
> I didn't like Heifetz all that much, I like Szigeti, (sp) the violinist who
> worked with Bartok a lot.  
> 

I rather like the Heifetz Chaccone. That was his signature piece.
Incidently, try to find a copy of the facsimile of the manuscript for
the violin partitas and sonatas. The handwriting is truly sublime.  It
is almost as much fun to look at it as to hear it played.

Tom
Newsgroups: rec.music.classical
From: will@ogre.cica.indiana.edu (William Sadler)
Subject: Re: When is close close enough for just intonation
Keywords: intonation, intervals
Organization: Indiana University
Date: Mon, 17 Aug 1992 14:40:50 GMT

In <1992Aug15.000215.28004@newshost.unh.edu> dvf@kepler.unh.edu (David V Feldman) writes:

>The question under discussion, in a musical context,
>is merely how much precision is enough.


Do the mathematical descriptions take into account the differences, both
physiologically and intellectually, between listeners?  Partch said that
with a little practice he could train his musicians to hear the difference
between tones less than 7 cents apart.  Someone trained in this manner
would be much more sensitive than someone accustomed to tempered tuning
systems with their inherent dissonance.

Will
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Stephen {Bishop}{-}{Kovacevich}
Date: 19 Aug 92 12:52:24 GMT
Article-I.D.: news.Bt8EFC.8I5
Organization: University of Delaware

In article <1992Aug18.154202.1@gsbacd.uchicago.edu> ca_ac@gsbacd.uchicago.edu writes:

>	I believe he has gone through various metamorphoses of his name and is
>now calling himself Stephen Kovacevich (at least this May when I heard him in
>concert). 

Yes, that is what he is going by now.

>Does anybody know the reason? 

I don't know the SPECIFIC reason for the very latest change, but his
overall history is pretty straightforward.

His parents (Mr. and Mrs. Kovacevich) were divorced when he was very
young, and his mother married a Mr. Bishop.  Mr. K. dropped out of the
picture for a time at this point.  As often happens in such situations, 
young Stephen took his stepfather's surname, Mr. Bishop being the only
father figure he knew.

After his career was well established, he got to know his real father
for the first time, and decided to honor him by absorbing his name (his
own original surname) into his stage name.  Hence the hyphenated
Bishop-Kovacevich that began in the mid 70s.

As to why he's now dropped the Bishop, that I don't know.  Perhaps his
only surviving parent is his father, and he feels that Kovacevich was
his "real" name all along?  Or maybe he just wants to set people talking
and thinking about him, to keep his career active.

Jon Alan Conrad
From: hamish@netcom.com (Just Another Deckchair on the Titanic)
Newsgroups: rec.music.classical
Subject: Re: JOHN CAGE
Date: 22 Aug 92 22:49:57 GMT
Organization: Pandemonia PLC

In article <BtCst1.B7q@quake.sylmar.ca.us> brian@quake.sylmar.ca.us (Brian K. Yoder) writes:
> [...]

>Are you telling me that sitting in silence for 4'33" is something other 
>than boring?  I can't imagine anything less exciting.

This *is* revealing. It sounds like you've never actually heard "4'33"
- have you? "Silence" isn't what comes to mind when I remember the
single performance I attended (but then that's pretty much the whole
point, no?)

And as to the "boring" part, that might well be a reflection on a
certain lack of internal resources somewhere, Brian....

	Hamish (a non-academic who was, ironically enough, taught music
		by academics whose line and tone seems to have been
		uncanilly-well copied by Brian Yoder...)
---------------------------------------------------------------------
Hamish Reid   +1 510 596-3917   hamish@netcom.com   hamish@sybase.com
Newsgroups: rec.music.classical
From: ca_ac@gsbacd.uchicago.edu
Subject: Re: Complete Set of LvB Piano Sonatas
Organization: 
Date: Tue, 18 Aug 1992 21:42:02 GMT

In article <Bt6yrw.81n.1@cs.cmu.edu>, acid+@cs.cmu.edu (Christopher Colby) writes:
> In article <1992Aug18.114949.11747@discus.technion.ac.il> sorin@techunix.technion.ac.il (Goldenberg Sorin) writes:
>>1) Is there a complete set of the sonatas played by Stephen Bishop ?
> 
> Stephen Bishop-Kovacevich?  I heard he was going to do a cycle for EMI, but
> there's extremely little chance he's done by now.  I was figuring we'll see
> it maybe a few years from now.  I'm quite looking forward to it.
> 
> The SBK sonata recording I have is Op.109 coupled with his Emperor on
> Philips budget line, and quite a fine performance it is.
> 
> -chris
	I believe he has gone through various metamorphoses of his name and is
now calling himself Stephen Kovacevich (at least this May when I heard him in
concert). Does anybody know the reason? Anyway check out his latest recording
of the Emperor (I heard it on the radio so I don't remember the details of
label and orchestra etc.) which was very impressive on first hearing.
							Alak Chakravorty

From: Frank.Panettiere@f2040.n391.z1.FidoNet.Org (Frank Panettiere)
Sender: UUCP@p0.f1060.n391.z1.FidoNet.Org
Newsgroups: rec.music.classical
Subject: Re: Die Meistersinger/02
Date: 16 Aug 92 22:33:01 EST

* In a message originally to All, Jon Conrad said:

JC> Note also some important HISTORICAL RECORDINGS from the
JC> 1920s-
JC> 40s.  Especially Friedrich Schorr in Sachs's solos, giving
JC> them an eloquence and beauty they've never had since.

Have you heard the Toscanini/Salzburg Festival recording of 1934?  The
sound quality is, as expected when you have a dubbing of a dubbing of a
dubbing ..., terrible.  But, the energy of the performance has not been
equalled since.

(Just the thought of it makes me want to get my reel-to-reel tape recorder
repaired so that I can listen to that performance again.  Thank you for
reminding me that I have the tape.  [Anyone know of anybody who still
repairs 20 year old 7.5 ips reel-to-reel tape recorders?])

                                                        Frank

 * Origin: The Human Interface * V.32bis/HST16.8 * 501-271-0179
(1:391/2040)
From: fernande@cps.msu.edu (Jose Roberto Fernandez)
Newsgroups: rec.music.classical
Subject: Bernstein and Sony's "The Royal Edition"
Date: 15 Aug 92 00:55:56 GMT
Organization: Dept. of Computer Science, Michigan State University
Originator: fernande@atlantic.cps.msu.edu

Sony is in the process of re-releasing Bernstein's CBS Masterworks
recordings under the so-called "The Royal Edition."  I think only
volume 1 (Bartok to Bruckner, 29 CDs) is out at this point.  There will
be a total of 100 items (119 CDs).

Does anyone have any recommendations on what to look out for?

How good are the Beethoven and Brahms (from volume 1)?
-- 
Jose Roberto Fernandez
fernande@cps.msu.edu
From: Gary.Rebholz@mixcom.mixcom.com (Gary.Rebholz)
Newsgroups: rec.music.classical
Subject: Re: Authentic performance/pitch.
Date: 23 Aug 92 14:58:04 GMT
Article-I.D.: mixcom.1992Aug23.145804.29408
Distribution: usa
Organization: Milwaukee Internet Xchange BBS, Milwaukee, WI U.S.A.

In <1992Aug20.155652.18776@bas-a.bcc.ac.uk> ucap22w@ucl.ac.uk (Martin S T Watts) writes:

>some sort of frequency association and, after all, presumably the reason that
>pitch has been allowed to increment over the years is that people favour the
>brighter sound that a sharp note produces.

And where does the search for the ever-brighter-sound end? Come on you early
music performers out there! Why is this aways a quasi-musicological discus-
sion and not one of practical application?  As a singer studying a new
approach to singing (light, fluid, vibrato as expression) and loving every
minute of it, I find singing, say, Bach to be infinitely easier and far
more pleasant at a lower pitch.  Yes I'm a tenor.  No, I'm not a scholar.
But I also don't like to listen to Bach/Baroque singers heave and chest their
way through a mass or cantata. Gosh, this music almost becomes human when
the post industrial age specials affects are left out!  And I won't even get
into my thoughts on the issue of context - Bach B minor Mass in a concert hall!

>for the standardisation of pitch now from a practical point of view, and since
>these historical performance groups are mostly using modern reconstructions
>of instruments this oughtn't to make life too difficult for them.

Modern reconstructions using old recipes.  Where are those ealy string players
out there?  -Not the ones that talk about it, the ones who perform!?!?!
-- 
Gary.Rebholz@mixcom.com
From: givler@bermuda (Greg Givler)
Newsgroups: rec.music.classical
Subject: Re: SEARCH Help request
Date: 14 Aug 92 13:49:41 GMT
Distribution: usa
Organization: Another Amiga UNIX System

In article <13AUG199208573001@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel (x2025)) writes:
>I need help locating two musical items.  
>
>1)  At the end of the movie _Chariots of Fire_ the boys choir is singing, 
>I believe, _Jerusalem_.  Who composed this?  Are there known recordings?
>If so are there recommendations between them, and is the other music by 
>this composer something to look into?  The soundtrack album contains only 
>the final minute of so featuring an annoying fade-in. 
>

If I remember correctly Jerusalem is an Anglican Hymn. I don't have
my hymn books with me, but I bet you could find the tune listed in
an Anglican Book of Hymns, or in America an Episcopal Hymn book.

>Thanks for any help you can render,
>
>Ron


-- 
Greg Givler                 | "If you're not going to kill me,
Commodore Product Assurance | I have things to do." - From Darkman
givler@cbmvax.commodore.com |
===============================================================================
From: RHASKINS@UMAB.BITNET (Robert Haskins)
Newsgroups: rec.music.classical
Subject: Re: Telefunken records
Date: 20 Aug 92 22:42:32 GMT
 <1992Aug20.163841.29539@den.mmc.com> <1992Aug20.182739.11770@Princeton.EDU>
Organization: University of Maryland at Baltimore

Per Margaret's question, "Das Alte Werk" is the name of a series of their CDs (
and LPs, if they
still make any), not limited to Bach's works.  If you told us the
performer ... could it be Herbert Tachezi?

I'm pretty sure the reference is to Michel Chapuis' complete set for
Telefunken (different from the one he did for Valois).

Bob
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Parsifal
Organization: University of Delaware
Date: Fri, 14 Aug 1992 21:33:51 GMT

In article <Bszn7M.LsG@usenet.ucs.indiana.edu> smitra@bronze.ucs.indiana.edu (Samindranath Mitra) writes:

>Does anyone know if Jon Vickers ever recorded Parsifal on a major
>or any other label? 

Nope.  One of the major missed opportunities in commercial recording.

>Are there any once bootlegged but now legal recordings?

(First, don't assume that all bootlegged recordings are now legal; there
is a new situation in Europe about recordings older than 20 years --
mostly in Italy actually though it tends to bleed to the rest of the
continent -- but the status of their importation to the US is, to say
the least, murky.  But be that as it may.)

I have come across no discs of a Vickers Parsifal.  He sang it in 2
different seasons at the Met, and no doubt the broadcasts were preserved
by many:  once in the late 70s with Christa Ludwig as Kundry, and once a
couple years later with Rysanek.  Levine conducted both times.  He also
sang it at Covent Garden in the 1970s with, I think, Reginald Goodall
conducting.  (I also recall hearing of tapes of a performance with
Jascha Horenstein conducting; can that be right??)  Anyway, if these are
circulating they're on tape in private collections.

>Also, do you all know when the Domingo/Norman/Levine Parsifal
>is expected to come out? What's the rest of the cast rumored to 
>be?

I would have expected it out this spring, when the Met production
returned!  Levine recordings seem to take forever to get released; I
believe part of the problem is that Levine's contract allows him to
review the finished tapes and approve them before they can be released,
and he sometimes takes a while to get around to listening to them --
he's a busy man.  (The same contractual reason, by the way, explains why
Pavarotti's recordings sometimes wait 4-5 years before release; he has
been known to demand retakes years later.  Does the Ernani he supposedly
recorded with Sutherland actually exist?)  So, as the Met is not doing
Parsifal this year, I wouldn't dare guess.  It might come out this fall,
or 2 years from now.

Besides Domingo and Norman, the cast includes Hans Sotin as Gurnemanz,
and I remember reading that James Morris learned Amfortas for the
recording -- he's never done it onstage.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: GINA@RICEVM1.RICE.EDU
Subject: Re: Faure Melodies & Requiem
Organization: Rice University  
Date: Tue, 18 Aug 1992 20:34:37 GMT

In article <l7b9pjINNk3k@roundup.crhc.uiuc.edu>
korkosz@uicsl.csl.uiuc.edu (Richard Korkosz) writes:
 
>        I just picked up the EMI 4CD box set of Faure Melodies with
>Elly Ameling (sop), Gerard Souzay (bar), and Dalton Baldwin (pno).  Since I
>do not know French, I was disappointed to find that English translations of
>the lyrics were not provided.  Does anyone know if any English translations
>are available, and if so, can you please list a source(s)?  If this doesn't
>pan out, I guess I have a good excuse to learn some French :)
 
It might be worth your while to pick up a copy of Pierre Bernac's book
"The Interpretation of French Song".  "The Ring of Words" also has quite a
few poems in it that Faure set to music, but Bernac has more.  The
translations are literal, not lyric, which is all to the good; I find
that lyric translations are frequently insipid.
 
Gina
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: When is close close enough for just intonation
Date: 15 Aug 1992 11:39:27 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu
Keywords: intonation, intervals

In article <1992Aug15.000215.28004@newshost.unh.edu> dvf@kepler.unh.edu (David V Feldman) writes:
>In article <l8o3aoINN6c@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:
>>I'm afraid I don't understand the part about decaying amplitude and how
>>that has anything to do with beats or frequency. A single piano tone
>>often has beats in it, but that's because most strings are actually
>>multiple strings which may be slightly out of tune.
>>
>Suppose I sound two (sine) tones which begin in phase but differ in frequency by
>a minute amount.   The beating will be very slow.  For example, if the tones
>differ in frequency by 1/100 cps (cycles per second) each beat will take
>100 seconds.  If the process were stopped after only 50 seconds the effect
>would be that of a single tone decaying in amplitude for 50 seconds.  Indeed,
>if the sine tones were mixed and produced by a single loud speaker, there
>would be no mathematical distinction, even in principle, between the two
>situations.  Turning this backwards, a tone whose amplitude is decaying
>has a pitch that is no more definite that the interval between the two
>nearby tones whose simultaneity would produce the same decay.

I assume you are referring to destructive interference. If so, the above
example only holds for an idealized case. At any rate, it depends on the
relative phases of the two tones to begin with. If they were to begin
out of phase, then one's impression would be of a steadily increasing
loudness. But in any real acoustical environment instead of two tones
mixed and played over a single loudspeaker, the relative phases of two
tones would vary depending on the position of your ears. Even turning
one's head if the frequencies are high enough can give a completely
different impression.

Also, destructive interference only accounts for beats in unison tones.
How is it that two tones slightly out of tune from a 5/4 ratio will
also produce beats in one's brain even though the RMS amplitude remains
constant?

Bill Alves
Newsgroups: rec.music.classical