HDTenEightyP/NetNews huggingface dataset:
From: rwh@visual.com (Rob Holzel)
Subject: Re: Current Favorites
Organization: Visual
Date: Fri, 20 Nov 92 12:42:49 GMT

>This leads to a corollary thread. What do current composers who
>subscribe to r.m.c like in current composition? I like Arnold, Simpson,
>Sculthorpe, Sallinen, Lloyd, Part, Schnittke, Lygeti, Xennakis,
>Williamson, Dreyfuss, Hovhaness, Rautavaara, Vine (to name but a few).
>
>Anyone else brave enough to nail their colours to the mast?

I'll second the vote for Lutoslawski.  I'll also put in a word for:

Nicholas Maw ("Odyssey") -- The work Rattle told EMI he'd have to record
   as a condition of renewing his contract.  90 minutes long.  Awesome.

Mark Anthony Turnage ("Three Screaming Popes")  -- This has just been
   released in the US as a "CD Single" on EMI.  Turnage is the composer
   in residence for the City of Bournemouth Symphony Orchestra.  
   The work in question is a 16-minute orchestral composition which
   depicts three grotesque paintings of famous popes.  The resulting
   music is an astonishingly original "take" on dance motifs, esp.
   the tango.  At $6 you can hardly go wrong.  :-)  And it's starting
   to look as if Rattle is turning out to be quite the champion of
   modern English music....

George Lloyd.  Totally different head.  Much more mainstream than
   the three already mentioned.  Lloyd can really spin a good tune,
   and although his music is conventional in many ways, it is still
   very effective.  Favorites: Seventh Symphony and Fourth Piano Concerto.

Robert Simpson.  Cult figure in England.  His Ninth Symphony is
   an incredible synthesis of Brucknerian technique with more modern
   composition.  The recording includes a 15-minute guided tour of
   the work by the composer, with examples.

Giya Kancheli.  Georgian composer.  His Fifth Symphony, orginally released
   on Melodyia, has now been reissued on Nonesuch.  The only way
   I can think to characterize his style is "dramatic stasis."  His
   music builds over long stretches, punctuated with tremendous
   outbursts from the full orchestra.  The Fifth features a middle
   section of heart-rending beauty before returning to the drama
   set up in the opening.  The sense of anger combined with great love
   would seem to fit the work's dedication, which is in the memory
   of the composer's parents.  

John McCabe ("The Chagall Windows").  I was so taken with this work
   that I bought an extra copy and mailed it to another r.m.c. reader.
   Somewhat Firebird-ish.  

I'll probably think of more after posting this, but these are the
standouts that come immediately to mind.


Rob






Newsgroups: rec.music.classical
From: scottus@bach.udel.edu (Scott Arthu Saracco)
Subject: Atlantis
Organization: University of Delaware
Distribution: na
Date: Wed, 18 Nov 1992 00:18:02 GMT


Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: The Thread That Never Dies!
Organization: MIND LINK! - British Columbia, Canada
Date: Sat, 21 Nov 1992 09:08:45 GMT

Eats-His-Pecker Salonen
The Flagellated Mute
Claude W.C.
Leo('s a) Weiner
Robert Simpleton
Trevor Pillock
Cheryl Studebaker
Glenn Ghoul
Luciano Beri-Beri-o
Richard Hiccups
Giorlano Frisk-a-Baldy
Dreary Te Kanawa

A friend of mine thought these were also funny:
Yo-Yo Ma
Einojuhani Rautavaara

Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: tonality and modern music
Organization: Credence Systems Corp. Beaverton, OR
Date: Thu, 19 Nov 1992 01:40:38 GMT

In article <1e9hloINN4c6@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:

>I don't think it's primarily the dissonance, lack of conventional melody,
>or even the atonality that stands in most people's way - it's the fact
>that for many composers processes have become the expression instead of
>the means to expression.

Do you mean to say that the substructure bothers people more than the
immediately audible surface details?  Isn't this getting rather mystical
and counter-intuitive?

						Jeff Winslow
Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: mozart/handel - messiah
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Sun, 22 Nov 1992 06:48:06 GMT

In article <92325.172728IO21145@MAINE.MAINE.EDU> <IO21145@MAINE.MAINE.EDU> writes:
>I was wondering if anyone has ever seen references to a
>revison of the "Messiah" by W.A. Mozart?

References to it?  I refer to it as K.572, as do a few other people, not the
least of whom is Ludwig von Koechel.

You can buy a nice Barenreiter score of it, or you can wander into your local
record store and pick yourself up a nifty recording and hear the Hallelujah
Chorus in German.  Have fun.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: Query : English Madrigals
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 23 Nov 92 01:00:47 GMT

In article <19NOV92.02338746.0158@music.mus.polymtl.ca> HS99@music.mus.polymtl.ca (S. Guimont) writes:
>Hello,
>      I try to find some enregistrements of English Madrigals songs.
>I put here some name of compositors (Byrd, Bateson, Farnaby, Mundy,
>Bennett, Morley, Pilkington, Wilbye).  I know many CD about Byrd,
>but all others ???
>

The Hilliard Ensemble has a couple of CDs with English madrigals.
One is compilation of various composers (Weekes, Gibbons, etc.).
The other is ayres of Dowland.  Also Julian Bream has a CD of 
British Renaissance music.  It's also a compilation of various
composers, but it has a lot of Dowland.  (I forget the label.
I also forget the entire name of the group performing, but I
know that Bream is the prominent name.)

John D.
Organization: TECHNION - Israel Institute of Technology.
Date: Saturday, 14 Nov 1992 12:37:07 IST
From: David Tal <GSRGAAO@TECHNION.BITNET>
Newsgroups: rec.music.classical
Subject:    Need to find the address of Kolstein's

Dear Group,
   I am a double bass player in this isolated country of Israel,
and I have run out of resin for my bow.  I know there is a store in
the NYC area, called Kolsteins (I think they recently moved from
NYC to Westchester or CT, which sells EVERYTHING that a bass player
could desire.
   Could somebody out there send me Kolstein's address, so I could write them
for a current catalogue. I know that double bass resin is not a subject
you can talk endlessly about, but I need some badly.  Any help would
be very much appreciated.

                           David Tal
Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: A Bach FAQ(Was: Question on Bach's 'Jesu, Joy of Man's Desiring'...)
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Wed, 18 Nov 1992 03:16:08 GMT

In article <jtwarden-171192165622@mac3.chem.rpi.edu> jtwarden@rpi.edu (Joseph Warden) writes:
>
>Periodically there are questions similar to the "quote" above in
>reference to the work, era and discography of J.S. Bach and his
>offspring. Often these questions seem to mirror the major events
>in the liturgical calendar. Would a Bach FAQ be useful?

Being that in my humble opinion J.S. Bach was the greatest composer ever
to have walked on the planet, I would be happy to contribute to the 
compilation of the Bach FAQ and to incorporate it as a section of the
regular rec.music.classical FAQ.  Hey, we might have an excuse to take
the FAQ to version 2.0 finally.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.music.classical
From: hellerS@moravian.edu (sjh)
Subject: Re: Slaughterhouse Five, the Tralfamadorean theme
Distribution: na
Date: Tue, 17 Nov 92 11:31:01 EST

In <1992Nov14.190549.15613@hubcap.clemson.edu> epohl@hubcap.clemson.edu (Erik Alan Pohl) writes:

>   While watching a movie version of Slaughterhouse Five (BTW
>IMHO a very good film) I heard a very interesting piano piece
>which had violin (it sounded) in the background and sounded
>vaguely familiar-  now it burns in my soul.  I would really,
>really appreciate it if someone (who knows the piece I'm talking
>about) would send me the name of it.

>   Also, it is the piece played when the Tralfamadorean spaceship
>is seen by Pilgrim.

As I recall, Glenn Gould wrote all the incidental music for this film
(which I also consider a classic). Check out the credits. I'm pretty sure
the soundtrack was released on LP back when the film was made, but it might
be pretty hard to find today...
From: ian.murray@synapse.org (Ian Murray)
Newsgroups: rec.music.classical
Subject: Re: John Williams, both o
Date: 17 Nov 92 21:12:00 GMT
Article-I.D.: synapse.1869.3163.uupcb
Reply-To: ian.murray@synapse.org (Ian Murray)
Distribution: world
Organization: SYNAPSE BBS - GATINEAU, QUEBEC - 819-561-4321

On 11-15-92, Mike Quigley wrote to All regarding Re: John Williams, both o


MQ>John Williams plays the music of John Williams, conducted and 
MQ>arranged by
MQ>John Williams.
MQ>

Ladies and Gentleman... The John's William's!!!

---
 . WinQwk 2.0 #0 . Unregistered Evaluation Copy
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: Bernard Shaw quotes (was: Brahms)
Date: 19 Nov 92 16:55:36 GMT
Organization: DSC Communications Corp, Plano, TX

In article <BxtI2y.3Ez@news.cso.uiuc.edu> erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:
>Robert Parson writes
>>  The only composer I can think of who did take a broad,
>>  generous view of music even when it differed radically from his own is
>>  Schumann. 
>>
>
>Aaron Copland was equally generous.  
>
>Just like other groups of people, some composers like only their own style,  
>some recognize the value of almost all styles.  Although I would be inclined to  
>believe that an acceptance of a variety of styles would be a benefit to a  
>composer, I've found no correlation between the views of a composer towards his  
>peers and the quality of his own music.  Counterexamples, anyone?
>
>Ed erwin@lisboa.ks.uiuc.edu 

Tovey points out that once you filter through the political sloganry of the
Wagnerites and the Brahminen, you find that Brahms held Wagner's music in
deep respect and was quick to lash out at his own folowers who made stupid
partisan remarks.  Wagner's way was not Brahms's way, but that did not keep
him from appreciating Wagner's essential genius.  He was very familiar with
the scores of Wagner's operas.  Likewise, Wagner indicated his respect for
Brahms's music.  But he, even more than Brahms was much more caught up in
a whirlwind of partisan musical -- and social -- politics.

Brahms music is every bit as dramatic and wide ranging as Wagner's, but its
focus is more condensed.  You have to adjust your perspective as you go
between one and the other.  Likewise, Tovey pointed out that Wagner's 
large scale forms and harmonic structures are as classical as Beethoven's
though they are spread out over a far vaster physical and spiritual range
of time and space.

Did you ever notice how the subject of music tends to make you feel very
very authoritative when expressing what are often little more than 
opinions?  E.g., my remarks, above.

Humbly submitted,
Gerry Palo
Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Music to sharp me up (Was: Re: Music to calm down by)
Organization: UCLA Mathematics Department
Date: Sun, 22 Nov 92 01:44:50 GMT

In article <1992Nov20.163005.29876@ghost.dsi.unimi.it> vince@ghost.dsi.unimi.it (David Vincenzetti) writes:
>In <3344@voodoo.UUCP> das@voodoo.boeing.com (Deb Schwartz) writes:
>
>>At work these days, I seem to be in a constant state of stress, and have
>>been thinking that some soothing music might help greatly.  I love classical
>>music, but don't have a whole lot of exposure to it.  I would greatly
>>appreciate recommendations for music that has a calming effect.
>>
>>Thank you,
>>
>>------
>>Debbie Schwartz // das@voodoo.ca.boeing.com  // ....uw-beaver!bcsaic!voodoo!das
>
>There is no such classic music as far I can hear. Listening to those

Of course there is!

>delicious starry masters like Beethoven and Bash always makes me sharper

Who on earth is Bash ? Johann Sebastian Bash maybe?

>and quicker, I cannot even think of relaxing myself when I shoosh to
>the sixth symphony by Anton Bruckner for istance.          ^^^^^^

Obviously Beethoven, Bach and Bruckner are inappropriate choices. That's
the whole point of this question...

What does shoosh mean (do I want to know?)

>I suggest you to
>listen to something more laughable like those so called rock music if
>you really want to fall asleep in a few moments. Oh Brother, this is
>just a suggestion.

I presume this is a joke? Obviously a musical snob. Anyway rock music
is the LAST thing you want to listen to if you want to fall asleep.
Italian pop music may do the trick though.
--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
From: Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.)
Newsgroups: rec.music.classical
Subject: Re: Favorite Ring recordings
Date: 15 Nov 92 20:25:05 GMT
 <1eL0TB2w165w@dorsai.com>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu


 Can anyone tell me how the Toscanini Ring was recieved? And whether
it's considered one of the great performances?

Thanks,
Joe Marcheso
Newsgroups: rec.music.classical
From: ext@wam.umd.edu (Eugene Zhu Xia)
Subject: Re: The worst composer ever
Organization: University of Maryland, College Park
Date: Mon, 23 Nov 1992 22:43:40 GMT


>From: velde2@jhunix.hcf.jhu.edu (Francois Velde)

>I don't think I'll ever grow fond of my nomination, Tchaikovsky, the
>apotheosis of kitsch.

Hear hear!  But in my case, I have to admit that I started with Tchaikovsky
(about 15 years ago); but one day, all his music suddenly sounded trashy, 
pretentious and full of fluff.  I didn't return to any Russian music until
I heard Shostakovic's quartets 3 years ago.

Eugene
Newsgroups: rec.music.classical
From: jbian@haida.mentorg.com (Jonathan Bian)
Subject: Re: Shostakovich preludes and fugues
Originator: jbian@haida
Date: Wed, 18 Nov 1992 19:02:19 GMT
Reply-To: jonathan_bian@mentorg.com
Organization: Mentor Graphics, Wilsonville, Oregon 97070, USA
Keywords: 
Followup-To: 


In article <1992Nov17.224152.3325@u.washington.edu>, dcoder@u.washington.edu writes:
|> I got the Keith Jarret recording of these on the basis of a local review. A  
|> delight on several fronts: performance, recording, and contents are remarkable.  
|> ("This is wonderful! But, I don't like Shostakovich!?", said one friend.)
|> There seem to be several other recordings--is anyone familiar with them?  
|> Although Jarret does a stellar job, there are parts that I could imagine done  
|> differently (perhaps more cleanly).
|> 
|> Dave Coder
|> dcoder@u.washington.edu
|> 
|> 
I heard it at a Tower Records store and immediately bought it.  I never knew
Shostakovich sounded this good!

The Russian Pianist Viladimir Vicardo has a CD recording of Shostakovich 
preludes (a different composition) which is also quite good.

Jonathan
e-mail: jonathan_bian@mentorg.com
Newsgroups: rec.music.classical
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: Merry TubaChristmas (was: Tuba)
Organization: The Ohio State University
Date: Tue, 17 Nov 1992 17:48:04 GMT

Concerning Merry TubaChristmas:

These performances are held at many locations around the US (& a few in Canada)
from about now until Christmas.  The music was arranged by Alec Wilder for 
tubas and euphoniums (tenor tubas), and is really quite nice.  In the past we 
have had as many as close to 500 performers here in Columbus!!!  When I get 
home tonight I will post a schedule of dates/cities for anyone interested.  
This is something that everyone should experience at least once.  :-)

BTW, the RVW concerto for Tuba is really a rather good piece of music.  In the 
proper hands, a tuba can be an impressively lyrical instrument.... ever listen 
to the Canadian Brass?
-- 
*>   Michael J. Valinis   -=+<*>+=-   mvalinis@magnus.acs.ohio-state.edu   <*
*>=>  "Music is your own experience, your thoughts, your wisdom. If you  <=<*
*>+>=> don't live it, it won't come out of your horn." -Charlie Parker <=<+<*
*>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<*
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: English Madrigals
Organization: University of Western Ontario
Date: Sat, 21 Nov 1992 01:33:19 GMT

Recordings of English madrigals done by the Kings Singers (before they 
went pop) are pretty hard to beat

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: More Haydn
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Mon, 16 Nov 1992 16:50:30 GMT

In article <1992Nov16.022625.20883@nuscc.nus.sg> art30248@nusunix1.nus.sg (NG LING LING) writes:

>Just wondering, has anyone actually heard the Dorati and the Hungarian
>players (or whatever they were called) do the Haydn cycle ?

Well, not *live* or anything...  (They were called the Philharmonia
Hungarica; this was one of two emigre orchestras from Hungary.  The
other was the Bamberg Symphony.)

>If so (or if anyone heard bits or individual symphonies)

I own LP's of most of them.

>1.  What was the size (roughly) of the group ? Esp. the strings.

Medium.  Not 20 firsts, 20 seconds, but not 3 + 3, either.  Probably 
a total of 50 players or so, less for some of the early works.  This 
is fine for most such pieces; orchestra size in the 18th C varied
widely, and I know of no composer who minded more strings as long
as they were competent.

>2.  Did they turn on the vibrato ?

Sure.  Why not?  Haydn with vibratoless strings would make no 
sense to me.

>3.  Do they slam on the brakes (ritardando) at the end of pieces ?

Not in the Romantic sense.  Occasionally there will be a slight
adjustment to emphasize the rhetoric of Haydn's close.  

>I thought these are interesting esp. now that I'm listening to a lot of
>scholars conducting "period-style" performance.

Scholars?  Who are these scholars who conduct?  8-)  (Leonhardt, I
suppose...)

>One other interesting question:
>I've never really seen many Period groups (Tafelmusik, London Classical
>Players, Academy of Ancient Music, English Baroque Soloists, Taverner
>Players, Hanover Band, 18th C Orchestra, La Petite Band) esp. those who
>have conductors...do these conductors use the baton ?

None that I've seen, except maybe LCP (can't remember).  Pinnock often
conducts from the harpsichord; Goodman uses his hands.

>I know (from photos) Frans Bruggen and Roger Norrington don't. 

That's better than my memory, then.

>Any music historians out there know if Haydn used a baton ?

He did not.  The baton as we know it comes from Mendelssohn's time.
Rehearsals might have been led by someone with rolled-up music or a
violin bow, but the practice of standing up in front of the band
was as yet unknown.  (Mendelssohn conducted with his back to the 
orch, btw., sorta like Stan Kenton...8-) )  Haydn usually played
harpsichord continuo -- see Sym. 98, in which he makes his farewell
to London (yes, he came back again) with a little tip-of-the-hat
hpschd solo at the very end.  Haydn may also have led from the 
first violinist's seat; he was certainly a good enough player to
have done so from time to time.

>Why don't you e-mail me and spare those who don't want to bother reading
>this.

Well, I'd like to hear other comments about the old Dorati set, for 
one.  If you do get a raft of email, could you summarize?

Roger
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.music.classical
Subject: Re: Recommnedations please
Date: 24 Nov 92 01:38:49 GMT
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University

In article <By6xFE.M5s@usenet.ucs.indiana.edu> eng tat tan <etan@silver.ucs.indi
ana.edu> writes:
>Could someone please recommend good recordings for the following :
>
>1) Haydn's "The Creation"

English:  Hogwood
German:   Von Karajan

>3) Gilber&Sullivan's "The Mikado"

Probably the best all-around is the Sargent.

>I already have the following choral pieces. I'm sure I've left out some great
>ones and since I'm going for a shopping spree, could someone recommend some
>choral music to add to my collection. Thanks a lot!
>
>i) Beethoven's Missa Solemnis
>ii)  "         Mass in C Minor

Choral Fantasy Op. 80, 9th Symphony

vi) Bach's     Magnificat

Cantata 140, "Wachet auf, ruft uns die Stimme!"  (Gardiner...brand new)
B Minor Mass (Gardiner)

>vii) Poulenc's Mass in G Major

Also his Gloria....Ozawa

>viii Hndl's essiah

Dixit Dominus, Solomon, Saul, etc

Other must-haves

Durufle Requiem (3nd version)              Matthew Best, on Hyperion
Mendelssohn's Elijah                       Hickox, or maybe Marriner
Vespro Della Beata Vergine (Monteverdi)    Gardiner, of course.
Schutz: German Magniicat (there's only one recrding currently in print, and
			  it's on Hyperion)

You probably should have the Vivaldi Gloria...One of the few things that
man wrote that doesn't wear on me :-)   I believe Pinnock has a good one.

Ein Deutsches Requem (Brahms) is another Staple.  Gardiner.

Chek the choral sections of the FAQ for more suggestions, but these
shoul et you off to a good start.



--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
From: haynes@cats.ucsc.edu (Jim Haynes)
Newsgroups: rec.music.classical
Subject: Tuba
Date: 20 Nov 92 05:51:58 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: hobbes.ucsc.edu


Not an original work, but I've heard Stars and Stripes Forever where
the usual piccolo part in the trio is played on a tuba.
-- 
haynes@cats.ucsc.edu
haynes@cats.bitnet

"Ya can argue all ya wanna, but it's dif'rent than it was!"
"No it aint!  But ya gotta know the territory!"
        Meredith Willson: "The Music Man"
Newsgroups: rec.music.classical