HDTenEightyP/NetNews huggingface dataset:
From: pjn+@cs.cmu.edu (P J Narayanan)
Newsgroups: rec.music.indian.classical
Subject: Re: Ajrara gharana, Tabla discussions..
Date: 23 Nov 92 20:33:29 GMT
Followup-To: rec.music.indian.classical
Organization: School of Computer Science, Carnegie Mellon

The level of dicussion on tabla playing between Corvin and Ustad Jim
Kippen fills me with a terrible inferiority complex. For, I understand
almost nothing of the fine distinction they draw between the tabla
schools and their characteristic compositions.

Can a knowledegeable netter (it seems there are several!) post an
introductory-type of article on this subject? Can someone refer me to
a good book on this topic? (Kippenji's book?)

Since I have more experience of listening to mridangam taniyavartanams
(but little or no knowledge of the grammar), can someone compare and
contrast tabla playing and mridangam playing?

Thanks!

PJN

-- 
---
Robotics Institute, CMU			pjn@cs.cmu.edu
Pittsburgh, PA 15213
---
Newsgroups: rec.music.indian.classical
From: srp@watson.ibm.com (Sriram Padmanabhan)
Subject: Shashank's remaining itenarary?
Date: Mon, 16 Nov 1992 16:42:23 GMT
Distribution: na
Disclaimer: This posting represents the poster's views, not necessarily those of IBM
Organization: IBM T.J Watson Research Center


Does anyone know or has access to Master Shashank's itenarary? 
I would like to know whether he is scheduled to give any performances
in the NYC/New Jersey area. Thanks in advance.

--sriram
From: R2HMV@VM1.CC.UAKRON.EDU
Newsgroups: rec.music.indian.classical
Subject: Cross postings - Ghazals and all
Date: 19 Nov 92 17:54:12 GMT
Article-I.D.: VM1.168A4B575.R2HMV
Organization: The University of Akron

Thanks to the enlightened soul who pointed out the fact that the Pankaj
Udhas posting was sent to several newsgroups which resulted in the
ensuing confusion and arguments. Before calling people 'boneheads' you
should realize that not all read news programs work the same way. For
example the one I use shows only one group in the "Newsgroups" category
and therefore there is no direct way of knowing if the original posting
was made on multiple newsgroups.
 
Secondly someone suggested to use "man rn" to figure out how it works. He
should realize that not all people on the net use UNIX to access the
USENET. I use VM/CMS and personally prefer it to the UNIX version for
ease of use and menu-driven capabilities.
 
Hope this stops the flames I and some others have got.
 
Hari Vattyam    (r2hmv@vm1.cc.uakron.edu)
 
--
 
Be it classical or not I love Ghazals and would definitely try to attend the
concert.
Newsgroups: rec.music.indian.classical
From: harsh@wam.umd.edu (R. P. Harshavardhan)
Subject: ghazals and Indian Classical Music
Organization: University of Maryland, College Park
Date: Sat, 21 Nov 1992 00:50:29 GMT

Ghazal is a valid form of composition in Indian Classical Music
The various composition styles allowed in Indian Music can be plotted
on a continuum of "verbality" with tarana at one end at ghazals at the other
the purpose of a composition is to get a sentiment (bhava) accross. The extent
to which words are used in doing so is a matter of choice thet the artiste has 
to make. (Note that the word Khayal literally means a "thought"). A very admirrable example of a esteemed artiste who sung ghazals extensively is late Begum
Akhtar. Among the contemporary singers Ghulam Ali and Mehdi Hasan are the only 
ones that can claim any standing among the classical artistes.

I fully concur with the sentiment that what Pankaj Udhas' of the world sing is 
largely heap of trash. (I may add Anup Jalota, Talat Aziz , Pihnaz Masani 
to this list)

Harsh
Newsgroups: rec.music.indian.classical
From: ganesan@eos.ncsu.edu (Vijay K. Ganesan)
Subject: Info needed on purchase of a sitar in India
Originator: ganesan@volt.ece.ncsu.edu
Reply-To: ganesan@eos.ncsu.edu (Vijay K. Ganesan)
Organization: North Carolina State University, Project Eos
Date: Wed, 18 Nov 1992 19:28:54 GMT





I am visiting India this December and I am thinking of buying
a sitar to bring back to the US. I would appreciate if anybody
could recommend a good place to buy a sitar. I am told that 
there are some very reputed shops in Calcutta. Will they be able
to ship it to Madras? (I am going to be in Madras and I would prefer
not having to travel to some place to buy the sitar and bring
it back to Madras)
Any info would be greatly appreciated. 
Thanks 

Newsgroups: rec.music.indian.classical
From: tmohan@iastate.edu (Thyagarajan Mohan)
Subject: Re: Melakarthaa Chakraas
Organization: Iowa State University, Ames, IA
Date: Tue, 17 Nov 1992 14:10:49 GMT

In article <1992Nov17.002751.3622@serval.net.wsu.edu> cvenkate@yoda.wsu.edu (Chandramouli Venkatesh - CS) writes:
>
>
>
>Hi there,
>
>Can someone please explain what does a MELAKARTHAA CHAKRAA mean? Recently I
>listened to a casette of MS that was recorded live from one of her concerts
>in the US (long time back I think). Let me make it clear that I am not an
>virtuoso in classical music and so don't make the answers too HI TECH! The 
>opening announcement in that casette said she would sing the CHAKRAMS 1&2.
>What are the ragams that fall under this?
>
>Thanks in advance
>CV
>

     The 72 MaeLakartaas are divided into 12 Chakraas,from `indhu' to 
`aadhithya'.Chakras indicate the regular arrangement of ragaas in them.The 1st
and second Chakras include the 12 ragas of the first two Chakraas,`indhu' and
`naethra',starting from `kanakaangi' to `roopavathi'(Incidentally,the Chakra
are named acording to the SANKHYA).
MOHAN
Newsgroups: rec.music.indian.classical
From: kippenj@epas.utoronto.ca (J. Kippen)
Subject: Re: The Pankaj Udhas fiasco!
Organization: University of Toronto - EPAS
Date: Fri, 20 Nov 1992 04:51:31 GMT
Keywords: Udhas crap

In article <1992Nov19.182456.5414@colorado.edu> parrikar@csn.org (Rajan Parrikar) writes:
>In article <1992Nov18.232218.3862@epas.toronto.edu> kippenj@epas.utoronto.ca (J. Kippen) writes:
>>I would encourage all connoisseurs to kick out this Pankaj Udhas
>>nonsense from the classical bulletin.  Keep it up!
>>
>>My good friend Art Levine passed on to me recently a CD by this
>>character Pankaj Udhas.  It is called "NEVER BEFORE -- 26 non-stop
>>Pankaj Udhas ghazals".  After cringing through about one-and-a-half
>>non-stoppers, my only comment was, and ever shall be
>>
>>"PLEASE -- NEVER AGAIN!"
>>
>>Cringingly yours,
>>
>>Pankaj Kippen
>
>I don't quite understand what your problem (and Naimpalli's and 
>other cringers') is. If it is with Pankaj Udhas, then, as my friend
>John Campana says, "De gustibus non disputandum est".  
>If, however, it is with ghazals, then I have some news for you.
>Ghazals, in general, DO come under the umbrella of classical music. So
>do thumris, tappas and such like. I would support discussions of these
>forms with as much enthusiasm as have for the khayals. If you aren't
>too fond of ghazals, tappas and thumris, simply hit the 'n` key and
>all will be well.
>And while I have as much (or even more) dislike for Pankaj Udhas's
>music, my operating system can handle a notice of his concert without
>crashing:-)

Come on.  You can't start pinning a dislike of ghazals on me.  I have
made my own studies of them, have even tried singing them, have
accompanied them, and admire many who do perform them.  But I'm afraid
Pankaj Udhas is someone who sends my personal tolerance level
crashing.  Now, even you can't claim that this "fiasco" has had
anything to do with discussing ghazal as a genre.  In my view that
stuff should not be on the classical net.

Jim



Newsgroups: rec.music.indian.classical
From: cvenkate@yoda.wsu.edu (Chandramouli Venkatesh - CS)
Subject: Melakarthaa Chakraas
Originator: cvenkate@yoda.eecs.wsu.edu
Organization: Washington State University!
Date: Tue, 17 Nov 92 00:27:51 GMT




Hi there,

Can someone please explain what does a MELAKARTHAA CHAKRAA mean? Recently I
listened to a casette of MS that was recorded live from one of her concerts
in the US (long time back I think). Let me make it clear that I am not an
virtuoso in classical music and so don't make the answers too HI TECH! The 
opening announcement in that casette said she would sing the CHAKRAMS 1&2.
What are the ragams that fall under this?

Thanks in advance
CV

Newsgroups: rec.music.indian.classical
From: pagrawal@portal.hq.videocart.com (Pankaj Agrawal)
Subject: SHASHANK's Concert in Chicago
Organization: VideOcart Inc.
X-Newsreader: Tin 1.1 PL3
Date: Thu, 19 Nov 1992 17:18:06 GMT

--------------------------------------------------------------------------------
 
                         India Classical Music Society
                                   presents
 
                                   SHASHANK
 
                    PRODIGIOUS FLUTE PLAYER OF SOUTH INDIA
 
 
 
SATURDAY NOV. 21, 6:30 PM.
The Art Center, Oak Park, Illinois.
 
For more information and directions etc. call:
 
Prem: (708) 983-7887, Raja (708) 957-0214, Pankaj (708) 366-7453.
 
or email pagrawal@code.hq.videocart.com
--------------------------------------------------------------------------------
Newsgroups: rec.music.indian.classical
From: pavan@exa.cs.umn.edu (A.Pavan)
Subject: Re: Hindustani equivalent of Revathi
Organization: University of Minnesota
Date: Mon, 16 Nov 1992 18:43:25 GMT

In article <168A1B12D.R2HMV@VM1.CC.UAKRON.EDU>, R2HMV@VM1.CC.UAKRON.EDU writes:
|> Hi,
|>  
|> Can someone tell me what is the equivalent Hindustani raga for 'Revathi'
|> in Carnatic music ??
|>  
|> Thanks,
|>  
|> Hari        (r2hmv@vm1.cc.uakron.edu)

That should be 'Bairagi' I believe.

-- 
------------------------------------------------------------------------
pavan@umn-cs.cs.umn.edu		Off: 612-626-7509 	Res:612-341-0708
------------------------------------------------------------------------
From: raman@translab.its.uci.edu (Balaji V. Ramanathan)
Subject: SPIC MACAY info
Newsgroups: rec.music.indian.classical
Organization: University of California, Irvine
Date: 17 Nov 92 18:15:22 GMT

Hi netters,
	If someone is maintaining an FAQ list for this group,
the following info may be added to that.  There have been questions
recentlyon this group about whom to contact for help with 
setting up Spic Macay chapters.  One of my friends who is
a chapter coordinator himself suggests the following email
address:
	spic_macay.core@marc.com

Hope that helps.  Thanks for the bandwidth.
--
----------------->8      Cut here for Signature!       8<---------------------
Balaji Ramanathan,                   | 
Institute of Transportation Studies, |         I don't believe in luck!
University of California, Irvine.    |              I RELY on it!!
Newsgroups: rec.music.indian.classical
From: jcampana@epas.utoronto.ca (John Campana)
Subject: Re: Info needed on purchase of a sitar in India
Organization: University of Toronto - EPAS
Date: Thu, 19 Nov 1992 02:37:00 GMT

In article <1992Nov18.192854.9681@ncsu.edu> ganesan@eos.ncsu.edu (Vijay K. Ganesan) writes:
>
>
>
>
>I am visiting India this December and I am thinking of buying
>a sitar to bring back to the US. I would appreciate if anybody
>could recommend a good place to buy a sitar. I am told that 
>there are some very reputed shops in Calcutta. Will they be able
>to ship it to Madras? (I am going to be in Madras and I would prefer
>not having to travel to some place to buy the sitar and bring
>it back to Madras)
>Any info would be greatly appreciated. 
>Thanks 

Sorry I can't provide the exact
addresses, but, as you mentioned, Calcutta is the place to buy good sitars:
1. Hiren Roy on Rashbihari Ave.
2. Hemen and Sons
3. Radhakrishna Sharma
4. Sur O Jhankar
5.P Bros.

#1 is your best bet if you want an excellent instument. The others are
very good, but, if you can locate them, the P Bros. on College St.
will sell you a good "clone". I am sure they will ship to Madras since
they sent (Hiren) a couple of sitars to Toronto. I don't recommend you
buy sight unseen though.
From: vdodd@ucs.att.com (Vijay Dodd)
Newsgroups: rec.music.indian.classical
Subject: Shashanks's itinerary
Date: 18 Nov 92 22:49:13 GMT
Distribution: na
Organization: AT&T Universal Card Services, Jacksonville FL

Can somebody let me know whether Shashank will perform at
any location in Florida or adjoining states ?

Thanks,

Vijayasimha D N.
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Tuba
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 17 Nov 1992 16:09:25 GMT

In article <Bxv3uC.JBv@dcs.ed.ac.uk> la@dcs.ed.ac.uk (Lewis Alderton) writes:
>Some wierdo composer wrote a Tuba concerto. Anybody know
>who he was and what he called it.

Can't help you with weirdo composers, but Ralph Vaughan-Williams
wrote a tuba concerto he daringly called "Tuba Concerto."  Nice
piece, really.

>(Anyone says "tubby the tuba" and I scream OK)

On the net, nobody can hear you scream.

But they *can hear you play the tuba, I'm told.

Roger

Newsgroups: rec.music.classical
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Re: Batons in period orchestras (was Re: More Haydn)
Organization: Massachusetts Institute of Technology
Date: Tue, 17 Nov 1992 20:31:51 GMT

I'm not sure who made the baton a standard fixture for orchestral conductors
(Berlioz?), but it didn't become so until well into the 19th century. Most
orchestras of the 18th-early 19th centuries didn't have conductors as we know
them (one person, standing in front of the band, waving his arms). The
"directing" (when did the word "conductor" become common?) was done usually by
the concert master or keyboard player/soloist.

Interestingly, several conductors of modern orchestras are moving away from
constant use of the baton: Ozawa, Masur, Mehta are ones I think of immediately.
From: ronthal-adam@yale.edu (Adam Ronthal)
Newsgroups: rec.music.classical
Subject: Re: Brahms
Date: 18 Nov 1992 20:35:04 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu

In article <1992Nov18.220838.27235@pta.pyramid.com.au> chieu@pta.pyramid.com.au (Chieu Tran) writes:
>ronthal-adam@yale.edu (Adam Ronthal) writes:
>
>>My all time favorite Brahms piece is the Horn Trio.  In fact, this is one 
>>of my favorite pieces of music in general.
>
>Do you have any recommendations on this piece?  I have heard of the one
>by Tuckwell, Perlman, Ashkenazy on Decca.
>
>Thanks.

This is one of the recordings I have and I love it!   I also recently bought
a CD imported from Switzerland on the ex libris label.  This was recorded
in 1987 with Tuckwell, Brenton Langbein on violin, and Maureen Jones on
piano.  It also has 2 other horn trios on it, one by Koechlin (which I
really like), and another by Banks which is a bit odd but also very neat.
I believe the Decca recording was done in 1969, and you really can't go wrong
with this.  The Franck Violin sonata makes a really nice pairing too!

Adam


-- 
   /|\  /|~\   Adam M. Ronthal BR'94    |    ronthal-adam@yale.edu	
  /-| \/ |_/   P.O. Box 607 Yale Stn.   |    ronthal@minerva.cis.yale.edu
 /  |    | \   New Haven, CT   06520    |    ronthal@pop.cis.yale.edu

Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Rachmaninoff's cello or 2nd?
Organization: UCLA Mathematics Department
Date: Wed, 18 Nov 92 17:43:07 GMT

In article <1992Nov17.222353.60974@cc.usu.edu> slj1k@cc.usu.edu writes:
>I'm torn between purshasing a Rachmaninoff CD containing his 2nd Symphony and
>the Vocalise, and one with his cello sonatas with the Volcalise.
>
>Any suggestions (and please don't say both, I'm poor)
>
Since I love the second symphony and don't even know the cello sonatas
I am biased and will say

 GET THE SECOND SYMPHONY !!

Who is playing it though? If it's a lousy recording then maybe you should
get the cello stuff !

David

--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Newsgroups: rec.music.classical
Subject: Re: Considering 4'33''
Date: 17 Nov 92 16:17:44 GMT
Organization: University of California, Irvine

In article <1ea0j3INNfgf@MINERVA.CIS.YALE.EDU> 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.
>

Ah, more open-mindedness from the Ivy League.  

John D.

P.S.  You could at least mention what music of his you are familiar
      with and then give a reason why you dislike it.  If you read
      this newsgroup long enough you'll see no shortage of posters
      who dislike Cage's music, yet have heard virtually none of it. 
       
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico (David G. Wong - VIP user)
Subject: wieniawski violin concerto #1
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Wed, 18 Nov 1992 18:58:11 GMT

anyone knows if heifetz or rabin recorded the #1 concerto of wieniawski?

please email.  thanks,

dw
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Newsgroups: rec.music.classical
Subject: Re: MOZART HELP PLEASE!
Date: 23 Nov 92 02:24:38 GMT
Organization: School of Computer Science, Carnegie Mellon


>>3. Who wrote the "Elvira Madigan" theme? 
>
Mozart--the second movement of the C Major Piano Concerto was used in the
movie Elvira Madigan.

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Quartet
hsmoliar@db1.speech.cs.cmu.edu
From: henken@ocf.berkeley.edu (Matthew J. Henken)
Newsgroups: rec.music.classical
Subject: Re: Brahms Violin Concerto
Date: 18 Nov 1992 03:48:05 GMT
Organization: U. C. Berkeley Open Computing Facility
NNTP-Posting-Host: headcrash.berkeley.edu

In article <1ecavpINNt24@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:

>The Grumiaux version of the Brahms is good too, if you can find it (I
>have it on 78, I don't know if he's made it to CDs. 

He did:  Philips Silver Line 420 703

The Brahms is paired with Bruch's Violin Concerto 1.

Great performance and disc.

Matthew J. Henken
henken@ocf.berkeley.edu
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: What do these abbreviations mean?
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Wed, 18 Nov 1992 07:40:11 GMT

In article <1992Nov18.015009.6685@csi.uottawa.ca> misrael@csi.uottawa.ca (Mark Israel) writes:
>   A paper I'm reading ("Learning the Harmonies of Western Tonal 
>Music using Neural Networks", by Johannes Feulner of the 
>Universit"at Karlsruhe in Germany) contains the following passage:

>"A note s is represented as the set of harmonic functions that 
>contain s, as shown below:

>Fct.   T   D   S   Tp  Sp  Dp  DD  DP  TP  d   Vtp SS
>   C   1   0   1   1   0   0   0   0   0   0   0   0
>   D   0   1   0   0   1   0   1   0   0   1   1   1

>T, D, S, Tp etc. are standard musical abbreviations to denote
>harmonic functions."

>   I've never seen these "standard musical abbreviations"!  Where 
>do I find them?

Germany. 

More precisely, Riemann.  This is the Riemaniac system, which has 
held back German music theory for a century, imho.  (Flames welcome!)

>   In the examples, he seems to use them as follows:

>T	I (Tonic)
>D	V (Dominant)
>S	IV (Subdominant)
>Tp	VI (Submediant)
  Tonikaparallele
>Sp	II (Supertonic)
  Subdominantparallele
>Dp	???
  Dominantparallele -- III

[At this point, things start to get a bit goofy, since III really
doesn't parallel V the way II is a lot like IV and VI is the 
destination for the standard deceptive cadence.]

>DD	V of V
  Dominantendominante
>DP	V of IV
>TP	???
>d	???
>Vtp	???
>SS	???

You can find a big 2-dimensional table of these in the back of 
Riemann or any of several more recent German theories.  The 
idea is that all chords relate to all other chords via some
set of tonic/subdominant/dominant relationships.  What this 
is ultimately worth, I've never been able to tell.

>   Can someone please correct/complete this list for me?

Not without a trip to the library, alas.

Best,
Roger

Newsgroups: rec.music.classical
From: f88-aca@nada.kth.se (Andreas Carlsson)
Subject: Re: Brahms Violin Concerto
Organization: Royal Institute of Technology, Stockholm, Sweden
Date: Mon, 16 Nov 1992 07:26:56 GMT

In article <1992Nov15.153350.9061@cronkite.ocis.temple.edu>, zorro@picasso.ocis.temple.edu (John Grabowski) writes:
|> Can anyone out there recommend a really passionate performance of the Brahms
|> Violin Concerto.  I've already heard Stern/Ormandy on CBS and Perlman/Giulini
|> on Angel, plus a few by relatively obscure East European orchestra whose names
|> escape me now.  They are all lacking for some reason or other.  I've also heard
|> a live TV version by Nadja Salerno Sonnenberg, and am tempted to get her
|> studio recording, but I've found she's not as exciting in the studio.
|> 
|> Also, a friend whose musical opinion I respect says Anna-Sophie Mutter's with
|> von Karajan on DG is disappointing as well.  I thought that would be 
|> definitive.
|> 
|> Any suggestions?
|> 
|> John
|> zorro@picasso.ocis.temple.edu
|> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

If the artistic performance is of highest priority, try listening to a 
recording from 1954 with David Oistrakh/Franz Konwitschny. This recording
has beem released on a DG CD, and is a mono recording! However, the
artistic performance is outstanding and the shortcomings, due to the
tape technology of that time, are felt to be far less significant than 
the musical gains. Oistrakh is really brilliant!
  (This CD also includes the Tjajkowskij violin concerto.)

Andreas Carlsson
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Kancheli symphonies
Date: 20 Nov 92 18:42:02 GMT
Organization: Glasgow University Computing Science Dept.

rwh@visual.com (Rob Holzel) wrote:
> I'll also put in a word for:
> Giya Kancheli.  Georgian composer.  His Fifth Symphony, orginally released
>    on Melodiya, has now been reissued on Nonesuch.

His 3rd, 4th, 5th and 6th symphonies are on Olympia in the UK (maybe Nonesuch
markets Olympia under its own badge in the US?).

> 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.  

The 6th is in a similar idiom: I found it easier to grasp at first hearing
(I've only heard the 5th once, in a live performance); an ABABA structure
where A is very slow folk material and a repeated pattern on the
harpsichord and B is enormous, overpowering blasts from the whole
orchestra.  The only earlier music I can think of that has the same feel of
desperately struggling historical forces is Nielsen's Fifth.  Kancheli has
written 7 symphonies but has stopped for the moment: he's doing a series of
chamber works under the generic title "Life Without Christmas".  Does
anyone know anything about these?

Rob didn't mention one of the more interesting younger British composers -
James Macmillan, whose "Confessions of Isabel Gowdie" (a dramatic scena
about a woman burnt as a witch in 17th century Scotland) is now available
on CD.  His idiom is a bit like Poul Ruders, though with more use of folk
material.

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.music.classical