HDTenEightyP/NetNews huggingface dataset:
From: mchenry@guvax.acc.georgetown.edu
Newsgroups: rec.music.classical
Subject: Re: Advice on Prokofiev piano sonatas?
Date: 18 Nov 92 17:43:48 GMT
Article-I.D.: guvax.1992Nov18.224348.1802
Distribution: na,world
Organization: Georgetown University

In article <hellerS.722095285@batman>, hellerS@moravian.edu (sjh) writes:
> In <92322.110947MHUGHES@MIAMIU.BITNET> <MHUGHES@MIAMIU.BITNET> writes:
> 
>>I want some advice on Prokofiev piano sonatas on two fronts:1. Of all the sonatas, which are the 3 or 4 most popular or most worthy
>>    of note in the repetoire?
> 
>> 2. Which are the most respected/recommended recordings?
>  
>  A lot of people like Gyorgy Sandor's recordings, but I'm not all that
>  crazy about them myself. I personally recommend a set of 3 CDs by Barbara
>  Nissman on Newport Classics very good overall, with intricate anaylsis and
>  indexing in the extensive booklet. This set also includes "Visions
>  Fugitives", "Sarcasms", the ever-popular "Toccata" and more. Of course,
>  this is not the only option in recordings, but I like it.
> 
>  Steve

IMHO the Nissman recorders do not emphasize the percussiveness of the music 
enough. I find some of the tempoes less stirring and prefer other 
recordings. To answer a previous message, John Lill has recorded the 
Prokofiev sonata cycle. The Boris Berman recordings coming out on Chandos 
are very good, but you'll have to buy at lot of CDs to get them all. Murray 
MacLachlan (I may have misspelled this) also has a great set. He has also 
recorded rare piano music by Myaskovskiy, Prokofiev's dear friend (on 
Olympia). Prokofiev's 6th piano sonata started me on a Prokofiev kick that 
has taken me to reading about him in Russian sources and trying to collect 
everything. I heard Yevgeniy Kissin play it on Soviet TV, summer of 1986, 
during the Tchaikovskiy competition. It sure sounded starnge to ne then but 
I could not stop listening. A room full of arts-pooh-poohing 
musically-illiterate chuck-e-cheese-loving people, including a 10 year, who 
were with me, were also spellbound. He has recorded it live twice - on a 
Tokyo recital and on his debut CD (New York, 2 years earlier). The earlier 
performance reportedly has more verve but is not as technically perfect. I 
like the Tokyo and have not heard the New York.

Bill McHenry                   |Those who do not hear the past works
mchenry@guvax (bitnet)         |are condemned to recompose them....
mchenry@guvax.georgetown.edu   |                 -me
Newsgroups: rec.music.classical
From: sfue5@syma.sussex.ac.uk (Andrew Richards)
Subject: Name this piece PLEASE!!!
Organization: University of Sussex
Date: Fri, 20 Nov 1992 20:51:11 GMT


Hi!
A plea for help. I recently caught the tail end of a piece of music on
the radio, and would like to know any details that anyone can provide
for me. It was by Thomas Tallis (sp?) and the title was Latin, I believe
- something like "Onata Lux". Anny information would be appreciated (eg
proper name, best recordings etc etc.) 

Please mail any answers to me at my address, as I don't check this
newsgroup that frequently...

Thanks,
Andrew

sfue5@syma.sussex.ac.uk
From: edente@pearl.tufts.edu
Newsgroups: rec.music.classical
Subject: Re: NYC record stores
Date: 16 Nov 92 15:33:41 GMT
Organization: Tufts University - Medford, MA

IIn article <1e69m8INN552@menudo.uh.edu>, chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789") writes:
> 
> Hi...  I'm off to New York City next week, and would like to check out some 
> record stores while I'm there.  I'm especially interested in obscue labels and
> imports, rather than cheap prices, *per se*.  Where are the good stores?
> 
> Please e-mail or post as you prefer.
> 
> Thanks,
> Bill
> 
> 
> + ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
> | Bill Harrison,            \             /       "Be as radical as... |
> | University of Houston, TX  >-----------<         reality itself"     |
> | CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
> + ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+

I'd like to second this request.  I'm particularly interested in used CDs.
Are there any stores with large collections of them?
Ed Dente
edente@pear.tufts.edu           "Vendetta ti chiedo,
                                 La chiede il tuo cor..." - Donna Anna
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: _The Low Symphony_ (Glass/Bowie/Eno)!
Date: 23 Nov 92 22:45:07 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

>Gregg Jaeger writes
> In Tower Records' _Pulse!_ magazine it is reported (Nov. '92 issue):
> 
> On Nov. 13th and 14th the Brooklyn Academy of Music's Next Wave Festival
> will present the world premiere of Philip Glass' latest work, _The Low
> Symphony_. The symphony is based on three David Bowie/Brian Eno
> compositions, "Subterraneans," "Warzawa" and "Some Are," from Bowie's
> landmark album _Low_ 

>My copy of _Low_, bought in France, does not include `Some Are'.  Are there  
>different versions of this album for America and the US?

No, but the recent Rykodisk RE-release of the album on CD includes two
previously unreleased tracks (along with a remix of something already
present). "Some Are" is one of those. I'd wager that that's the copy
that Glass worked from.
--
-The world exhausts everything except my eyes/because it is a long walk to the
world/begun before I was born. In the far corner/the dead woman bows off stage
The television/crumples into a white dot as the last/train of the evening - my
train, is announced/I lived in one place. I want to die in another 608-828-3385
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: Why not a rec.music.contemp group?
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Thu, 19 Nov 1992 20:07:04 GMT


Why not? Partly because, as others have said, there is no dividing line
between contemporary and non-contemporary music, other than what would
only be arbitrary chronology. 

Another reason is that such a division would be simply that: DIVISION. 
You talk about your music, I'll talk about mine, but we'll do it separately, 
and we will learn nothing from each other, and our minds will be narrowed, 
even closed. We will never be surprised or challenged. We will never know
the delight of discovery, of revelation, of growth. We will become frozen 
in time, arrested. We will be complacent, dull, redundant. We will only
reaffirm, again and again, what we already know. Time will stop. We will 
have died.

Lovely scenario, don't you think? :-) Seriously, I think it would be
terrible to narrow the focus. Keep it wide open, nothing off limits.
Much better that way, don't you think?

- BK
Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: MOZART HELP PLEASE!
Organization: Helsinki University of Technology, Finland
Date: 23 Nov 92 03:18:10

In article <1992Nov22.165456.222@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:

>>3. Who wrote the "Elvira Madigan" theme? 

>I don't know the theme, so I can't help you here.

  If my memory serves me right, "Elvira Madigan" is for some reason, I don't
  know, a nickname for one of Mozart's piano concertos (exactly which of
  them, don't remember, the number was perhaps over 20).

--
!
!	Jyrki Wahlstedt
!		Jyrki.Wahlstedt@hut.fi
!
!  Our life is no dream, but it should and will perhaps become one.
!
Newsgroups: rec.music.classical
From: nchawla@nmt.edu (Nikhilesh Chawla)
Subject: Re: Brahms Violin Concerto
Organization: New Mexico Tech
Date: Thu, 19 Nov 1992 04:47:19 GMT

In article <1992Nov18.171442.1@gsbacd.uchicago.edu> ca_ac@gsbacd.uchicago.edu writes:
>In article <1ecedlINN9a@agate.berkeley.edu>, henken@ocf.berkeley.edu (Matthew J. Henken) writes:
>> In article <1ecavpINNt24@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>> 
>>>The Grumiaux version of the Brahms is good too

I like an old recording by Nathan Milstein.  I have it on LP, I don't
know if it is out on CD.  His tempo is quite brisk and technique is
impecable - the emotion that is missing from Perlman's recording is
definetaly there.

Nik



Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Messiah recommendations? (probably seasonal FAQ)
Keywords: Messiah, Handel, Christmas
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Sun, 22 Nov 1992 06:41:17 GMT

In article <1992Nov20.181214.27569@Rapnet.Sanders.Lockheed.Com> mlaird@Rapnet.Sanders.Lockheed.Com (Michael D. Laird) writes:
>
>I've heard several performances that range from the 1000 voice choir and
>significantly beefed-up orchestra style, to more historically accurate
>performances with period instruments.  Since I don't want to start any 
>arguments over which is "better", I'd like to get some recommendations
>that fall into both categories.  While I prefer DDD recordings over
>older analog ones, the performance itself is most important (assuming
>that it isn't drowned out by tape hiss or something :-) ).

I ought to add a Messiah section to the FAQ file every December...

But anyway, my personal vote goes to the Gardiner version (of course).  
I find it to be beautifully sung, and musically/musicologically to my
liking.  Also, the use of a Treble in the first part is a truly inspired
choice.


--
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: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Re: Considering 4'33''
Organization: University of Virginia
Date: Tue, 17 Nov 1992 13:35:12 GMT

> ronthal-adam@yale.edu (Adam Ronthal) writes:
>I think John Cage was a poser.  Go ahead, flame me,
                                           ^^^^^^^^
>but you'll never 
>convince me that he had any real talent.
>

Cant resist an open invitation like that. Whether or not you think he has
'real' talent, how many people will be discussing Adam Ronthal on a worldwide
network months after your death? 


Newsgroups: rec.music.classical
From: gerritse@sci.kun.nl (Bart Gerritse)
Subject: Tannhauser
Summary: How do Tannhauser recordings compare?
Keywords: Wagner, Tannhauser, Melchior, Szell, Konwitchny
Organization: University of Nijmegen, The Netherlands
Date: Mon, 23 Nov 1992 10:02:05 GMT

Recently the available recordings of Wagner's Ring and Tristan und Isolde
have been discussed on the net. Now I want to start a similar discussion
about the recordings of Tannhauser.

I know two recordings: directed by Konwitchny and Szell. The first
seems to me a reliable version without major flawes; the second is
interesting because of some great voices (Melchior!) but has awful sound and
a strangely varying tempo. I bought the Szell set recently and I am very
much confused by it: when I listen to it I think "this is bad" but when I
compare to Konwitchny I think "this is good, but Szell is better". I think
this boils down to the voices (especially Tannhauser's), therefore a list of 
the performers:

conductor:	Georg Szell		Franz Konwitchny

orchestra:	Metropolitan Opera	Staatsoper Berlin
chorus:		Metropolitan Opera      Staatsoper Berlin

Landgraf:	Alexander Kipnis	Gottlob Frick
Elisabeth:	Helen Traubel		Elisabeth Grummer
Tannhauser:	Lauritz Melchior	Hans Hopf
Wolfram:	Herbert Janssen		Dietrich Fischer Dieskau
Venus:		Kerstin Torborg		Marianne Schech

label:		AS Disc 1101/3		EMI CMS 7 63214 2
year:		1942 (live)		1960

Can anybody (Jon?) name me a totally satisfying Tannhauser? (I would like to
hear Melchior in a stereo recording by Walter Legge and Furtwangler
conducting, but I'm afraid nobody can help me with that :-))

Thanks, 

Bart 
gerritse@sci.kun.nl

PS. Talking about sound quality. I bought Kempe's Ariadne auf Naxos. I have
never heard such good sound before!
Newsgroups: rec.music.classical
From: seidman@eng.auburn.edu (Stephen Seidman)
Subject: Re: piano and flute
Reply-To: seidman@eng.auburn.edu
Organization: Auburn University Engineering
Date: Tue, 17 Nov 1992 13:53:14 GMT

There is a very large repertoire for flute and piano.  One particularly lovely
work is Ernest Bloch's "Suite Modale", which was written in 1956 for Elaine
Shaffer.  There are sonatas by Poulenc and Hindemith, among many, many others.
You should be able to locate collections of pieces written as graduation
exercises for the Paris Conservatoire.  Among these, Faure has written a
"Fantaisie" that is particularly nice.  I have been hearing a lot of the
Bloch and Faure recently, as my daughter is working on both pieces.

Steve Seidman

Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: The worst composer ever
Organization: UCLA Mathematics Department
Date: Tue, 24 Nov 92 00:53:27 GMT

In article <1992Nov22.170643.16338@syma.sussex.ac.uk> sfue5@syma.sussex.ac.uk (Andrew Richards) writes:
>From article <g8FkuB7w165w@student.business.uwo.ca>, by r4smith@student.business.uwo.ca (Richard Smith):
>> It's a poll--who do you think is the worst famous composer of them all?
>> 
>> Let me start it off. I think it's Delius. Then again maybe it's Arthur 
>> Bliss.
>> 
>> r4smith@student.business.uwo.ca (Richard Smith)
>> Western Business School  --  London, Ontario
>
>Try Bartok. He's the worst for my money...
>
>Andrew
>
NO WAY !! You may not like him but Bartok's piano concerto 2,3 are
brilliantly written not to mention the string quartets and Bluebeard's
Castle. All excellent stuff.

We need a definition of WORST please. Since Richard Smith started
this he can give us a definition.

David


--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
 David A. Pugh      | Hot Dog, Jumping Frog, Albuquerque            > PREFAB
 pugh@math.ucla.edu | Best agree you and me we're only nightingales > SPROUT
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Bernard Shaw quotes (was: Brahms)
Organization: Camosun College, Victoria B.C, Canada
Date: Fri, 13 Nov 1992 17:53:42 GMT

In article <1992Nov13.174835.25121@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>GBS did refer to 'tedious streches of joiner masquerading as
>development sections' with regard to Brahms.

Damn - that should be 'tedious stretches of joinery'.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.


Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: tonality and modern music
Organization: UCLA Mathematics Department
Date: Fri, 20 Nov 92 01:11:39 GMT

In article <1eh92dINNit1@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:
>In article <1992Nov19.014038.27593@credence.com> jeffw@or.credence.com (Jeff Winslow) writes:
>>In article <1e9hloINN4c6@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:
>
>Likewise, there's plenty of melody in Stockhausen, for example, so why do
>people accuse his music of having "no melody"? Not because there is no
>melody, but because they cannot perceive the logic of it -- the logic may

... or could it be because they can't bloody sing it? Melody is like
a tune - you know, hummable. Ever tried humming Stockhausen? Maybe
note patterns would be a fairer description. I don't think Karlheinz
could write a melody to save his life!

>
>Bill Alves


--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: About those bad composers
Organization: University of Western Ontario
Date: Mon, 23 Nov 1992 22:20:50 GMT

Interesting set of choices--keep 'em coming!

I have to say I don't really think of Andrew Lloyd-Webber as a serious 
composer (in fact I try never to think of him at all). But then HE does 
(witness the Requiem). Officially I suppose he is fair game. But by this 
standard so is Paul MacArtney.

Berlioz--hmmm. I can't say he's my favourite. He writes the strangest 
melodies: they just go on forever. I love Les nuits d'ete, bits of Romeo 
et Juliette and even Symphonie Fantastique. I have never had an easy 
relationship with the operas, though.

Tchaikowsky is a very uncool composer to like. I don't like the 
symphonies very much at all (kinda like the pots and pans movement from 
the 4th). Love the ballets; love the Seasons. He definitely had a gift 
for melody, just not for development.

A friend of mine from Cornell once discovered a Baroque composer who 
couldn't even write a proper sequence. Now THAT is damning.

Reger's works for solo viola are pretty hard to take. I know every viola 
player is going to come down hard on me for this. You can take it. I am a 
clarinet player who doesn't like Weber very much. Where does that put me?

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: Tannhauser
Keywords: Wagner, Tannhauser, Melchior, Szell, Konwitchny
Organization: Indiana University
Date: Mon, 23 Nov 1992 21:55:18 GMT

In article <By6JBx.LBB@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>
>I hear good things about the fairly recent Sinopoli on DG, but have not

The Sinopoli recording, like all Tannhausers, has its good and not-so-good
points. Cheryl Studer is in awesome voice througout. Placido Domingo, as
always, sings very well, never strained to produce ugly sounds and 
always soaring above the orchestra. This sound is very pleasant to the
ear, but, how shall I put it, I find his certain lack of "gruffness"
a bit disconcerting. Maybe he is too "unGermanic"...there I go cliche-ing
again. But listen to his beautifully sung lines at the beginning
of the 2nd act, "die fursten...". And then listen to someone like Max
Lorenz in his excerpt in the EMI compilation of the 20's and 30's Wagnerian
singing, the latter is more strained and all but you'll see what I mean.
Incidentally, this aspect of Domingo's not getting into the skin aspect
bothers me somewhat more in the recent release of Die Frau Ohne Schatten
with Solti. I wonder if he will affect me same way in his soon to be 
released Parsifal, especially in the 2nd act! 

It is a pity that most of the male tenors in todays world of Wagnerian
singing don't embody characterization and good singing equally well.
I think that among the major singers Siegfried Jerusalem comes 
closest.

Anyhow, Salminen, again as always, is fine.

Sinopoli's conducting is fine. But not as gripping as his Salome.
But maybe its the music? 

>>PS. Talking about sound quality. I bought Kempe's Ariadne auf Naxos. I have
>>never heard such good sound before!
>
>YES YES YES!!!!  This is one of the alltime great opera recordings, and
>it's been unavailable for too long.  The cast is certainly very good in

Let me plug a rerelease here. Kempe's old and great, heard a scratchy
LP sometime in the past, recording of the Meistersingers (with Ferdinand
Frantz as Sachs?) has been reissued in Europe. I am hoping it is going to
get here soon. Can't wait for the cd's!
From: dblack@pilot.njin.net (David Alan Black)
Newsgroups: rec.music.classical
Subject: Re: Brahms Violin Concerto
Date: 20 Nov 92 00:22:32 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

A couple of worthwhile recordings (to put it mildly) which haven't
been mentioned in any of the follow-ups I've seen, and which may
very well not be available any more: Joseph Szigeti and Bronislaw
Hubermann.  Szigeti (as great an instrumentalist as I've ever
come across) is accompanied by Hamilton Harty.  This recording
was available in the 80th Birthday "box" put out by CBS, although
unfortunately in later copies of it both sides of the Brahms
disc contained the second and third movements.  Hubermann is
accompanied by Arthur Rodzinski, although the LP version of this
performance I have (Rococo) says it's Barbirolli.  (I choose to
trust the radio announcer audible on a tape of the same performance
who mentions Rodzinski by name.)

Ginette Neveu's recording is, as several respondents have said,
totally wonderful.  Aviation was not kind to mid-twentieth-century
string playing.  

David Black


             "No human life is insignificant."

                  - Mrs. Emma Peel
From: icking@gmd.de (Werner Icking)
Subject: Re: Sheet music editor
Organization: GMD, Sankt Augustin, Germany
Date: Fri, 20 Nov 1992 15:01:15 GMT

In <1992Nov17.190054.28785@newsgate.sps.mot.com> dwong@chopsuey.pico (David G. Wong - VIP user) writes:

>In article 721584992@gmd.de, icking@gmd.de (Werner Icking) writes:
>>If he already has and knows TeX he may use MusicTeX available per anoymous
>>ftp from here:
>>
>>  ftp.gmd.de    music/musictex/musictex.zip     et.a.
>>
>>A mailing list for MusicTeX may be subscribed at:  mutex-request@stolaf.edu
>>
>>Shareware TeX (e.g. emTeX) is available from a lot of TeX-servers.
>>
>>Werner

>is there a manual that comes with this?  i got the musictex.zip thru ftp, but can't
>find any README or doc files with it.  how about a workstation version? does it exist?

It's based on TeX; so you need TeX (and some TeX knowledge). If you (or
your system or your workstation or ...) has TeX, you have to install
the fonts (either the PK/TFM-files or the font sources -- MF-files). Then
you may print musicdoc.dvi the definiton. musicdoc.tex is the TeX-source
(if you like to read TeX-source :-).

What do you mean with workstation? for most workstations I know there exists
a TeX-package which may be used as a basis for MusicTeX (like emTeX for 
PC, OzTeX (?) for Mac, ...)

Hope this hilft -- Werner
--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
Newsgroups: rec.music.classical
From: smoliar@whitehead.iss.nus.sg (Stephen Smoliar)
Subject: Re: tangents Re: Considering 4'33''
Reply-To: smoliar@iss.nus.sg (Stephen Smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Sat, 21 Nov 1992 02:10:48 GMT

In article <1992Nov17.134830.17534@husc3.harvard.edu>
elkies@ramanujan.harvard.edu (Noam Elkies) writes:
>
>There was/is a fellow who could recognize a classical LP (sans
>label) by just looking at it --- apparently the pattern of rough
>and smooth sections of the record, corresponding to loud/soft music,
>contained enough information to figure out the piece, and in some
>cases even the performer(s)!
>
I once heard James Randi talk about this guy.  He really could only distinguish
relatively coarse features.  Basically, he seemed to be able to memorize what
the disks looked like and associate those memories with knowledge of their
contents.  If he could distinguish difference performances of the same work,
it was only because he probably had an eidetic memory of the loud/soft
patterns.  This would mean that telling one performance from another was
as difficult as telling one composition from another.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg