HDTenEightyP/NetNews huggingface dataset:
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Orchestras/conductors
Date: 7 Oct 92 15:52:31 GMT
	<7CGRBAFN@cc.swarthmore.edu>
Organization: pubs
In-reply-to: abrocke1@cc.swarthmore.edu's message of Wed, 7 Oct 1992 02:33:39 GMT

Aaron Brockett writes:

   Hugh Wolff (sp?) is indeed the music director of the St. Paul's
   Chamber Orchestra, replacing Pinchas Zuckerman.      ^^^^^^^^^^

Ahem.  That's "Saint Paul", the city in Minnesota--not the orchestra of
St. Paul's Cathedral or St. Paul's anything else.

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel)
Subject: Re: Brahms 3rd Symphony (Repost)
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Date: Mon, 12 Oct 92 04:32:18 GMT

In article <6CMRBRBR@cc.swarthmore.edu>, rbrooks1@cc.swarthmore.edu (Rob Brooks) writes...

>but then again, any Karajan is good Karajan.
> 
>Rob

But is it good?  We've been through this before, I know, but I couldn't let
the statement stand.

Ron
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Beethoven's opus 90 piano sonata
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Fri, 16 Oct 1992 12:30:07 GMT

In article <upanisad.718784734@mcl>, upanisad@mcl.ucsb.edu (Academic Fraud) writes:
>In researching the large scale structures in Beethoven's opus 90 I have
>come upon a stumbling block...different scores I have disagree on a 
>crucial dynamic mark at the point of 'recapitulation.'  This is in 
>measures 140-145 of the first movement...one edition I have states a
>crescendo at 140 culminating in a forte dynamic in 144, while another
>has the crescendo but no 'forte,' another has neither a crescendo nor
>a forte, and the Schenker verision I have is really bad with both marks
>in parentheses.  Does anyone out there know of the dynamic marks either

The original Schenker edition (only available from Dover) is close to what is
in the first edition:  PP at m. 140, crescendo beginning in m. 141 with a line
continuing until the measure of the recapitulation, at which there is NO
dynamic marking.  (There are no parentheses in Schenker's original;  you
are probably using Erwin Ratz's revision.)  The difference between Schenker's
original edition and the first edition (Wien:  S. A. Steiner, [1815], which
I have in front of me as I write), is that where the first edition writes
"cres" in m. 141, then has a dotted line to "...cen..." in m. 142, then has
"...do" concluding at the barline of m. 143-44 (the "d" is on the line,
so the "o" is protruding into the following measure), 
Schenker's edition has the "cres" in m. 141,  following it only with 
a dotted line that concludes in m. 143.  The markings in the first edition
appear to me a little more expressive

Hope this is helpful to you and your analysis.

Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Newsgroups: rec.music.classical
Subject: Re: Need info on Kraanerg by Xenakis
Keywords: Kraanerg, Xenakis
Date: 9 Oct 92 18:02:02 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <1b21tkINNf9s@agate.berkeley.edu> maverick@fir.CS.Berkeley.EDU (Vance Maverick) writes:
>In article <music.718568349@batman>, music@moravian.edu (Steve Heller) writes:
>|> There is an Etcetera CD listed that shows just one work on it,
>|> Kraanerg, featuring Roger Woodward and the Alpha Centuri Ensemble. Is
>|> anyone familiar with this work or CD? Is it a very long work or a very
>|> short CD or what?
>
>Long work.  I remember being intimidated by the readout on the
>CD player when I first plugged it in: one track, 72 minutes.
>
>|> What sort of instrumentation is involved?
>
>(Analog) tape and 22 instruments -- largely extreme winds, if I remember
       				     ^^^^^^^^^^^^^^^^^^^^^
>right, the clarinet family represented (for hypothetical example) by
>Eb and bass.  Vance Bob says check it out.
>
>	Vance

What does this mean Vance and should I be offended?

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Trio
Xref: sparky rec.music.classical:14064 news.answers:3389
From: mr@rwthi3.informatik.rwth-aachen.de (Matthias Rademacher)
Subject: Re: Vibrato in aging voices (was : Das Lied etc.)
Organization: Rechnerbetrieb Informatik  /  RWTH Aachen
Date: 12 Oct 92 10:48:35 GMT

In article <Bvrp88.C7p@news.udel.edu>, conrad@brahms.udel.edu (Jon Conrad) writes:
> Is there *any* recent example of a singer
> who maintained cleanly defined tone into his/her later years?  Alfredo
> Kraus maybe -- it's dry, but it's steady, and he's been at it since the
> 50s.

Countertenor Charles Brett. I don't know his age, but he is not
the Youngest.
Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (stephen smoliar)
Subject: Re: The Voyage: A Synopsis
Keywords: Stage Setting
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Tue, 13 Oct 1992 23:00:11 GMT

In article <1992Oct13.084300.12326@uvm.edu> cavrak@newton.emba.uvm.edu.uvm.edu (Steve Cavrak) quote fro THE NEW YORK TIMES:
>
>Tomorrow night, a new opera called "The Voyage" will have it's
>world premiere at the Metropolitan Opera House. The work, by
>Philip Glass and David Henry Hwang, commemorates the 500th
>anniversary of Columbus' arrival in the New World, but also
>salutes all voyagers.
>
>The sets for "The Voyage," designed by Robert Israels, are among
>the most complicated ever undertaken at the Met. Characters sour
>and drift over the stage, sets twist and shift and fly apart.
>
Note that this is the same team that gave us 1000 AIRPLANES ON THE ROOF.  The
best part of that production was the set design which, I fear, was far too
imaginative and elaborate to ever be successfully translated to television.
Without any doubt, the worst part was the script--some of the most amateurish
trivial dribble I had heard in a long time (or at least since I saw M
BUTTERFLY).  I shall be very surprised if little David has learned anything
about writing since then.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Beatles and the canon
Date: 16 Oct 92 15:03:26 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Oct16.025739.12547@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>In article <1992Oct15.182055.7893@Princeton.EDU> roger@crux.Princeton.EDU (Roger Lustig) writes:
>
>[....]
>   much like an original: consider the Bud Light commercial with a song called
>   "Wild Thing."  Now, that's *not* the 60's song by Question Mark and the
>   Mysterians; in fact, it's a recomposition that includes bits of that 
>
>Nor the 60s song by The Troggs? :-)

Of *course* it's the Troggs.  I was thinking of "99 Tears" (which Nena 
covered so nicely later on, right?  8-) )

So much for my knowledge of 60's novelty rock...

Roger
From: HSMBB@CUNYVM.BITNET (Spencer Means)
Newsgroups: rec.music.classical
Subject: Met Opera tickets for sale
Date: 7 Oct 92 14:48:50 GMT
Organization: City University of New York/ University Computer Center

I have two pairs of very good Met orchestra seats to dispose of for the
following performances:

     Monday, February 15, 1993, Cavalleria Rusticana (Santi; Meier, Beccaria,
        Noble) and Pagliacci (Santi; Daniels, Mauro, Pons)

     Monday, March 29, 1993, Lucia di Lammermoor (new production) (Veltri; Jo,
        Kraus, Gallo, Plishka)

Both pairs are orchestra P 105-106 (center), $100 per ticket.

Spencer Means
hsmbb@cunyvm.bitnet
Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: I know, Ill write La Traviata AGAIN!@!@!@ (was: Re: Glass...)
Organization: Educational Computing Network
Date: Tue, 13 Oct 1992 17:04:07 GMT

In article <1992Oct13.125808.18114@murdoch.acc.Virginia.EDU> rwd4f@poe.acc.Virginia.EDU (Rob Dobson) writes:
>>It's sad that you confuse novelty for originality. Every period was
>>accepted within 80 years but this modern and atonal music gets more
>>detractors every day. Its a music of snobs and the musically well
>>educated get back to basics get back to Verdi
>
>its sad that you confuse Philip Glass with modern music. Schoenberg is
>not, at least to my mind, having just read 10+ posts on Pierrot Lunaire,
>gaining more and more detractors. And Stravinsky's Rite seems to have 
>been pretty well accepted by now......

Glass is what you call postmodern.   He is not my favorite, but there
are some things of his I like.  I liked Einstein,  although it
has been years since I have heard it.  I tend to like it in films more
than straight listening.

As for Schoenberg, they asked Boulez if he felt that Stravinsky was
overtaking Schoenberg.  He said yes and no.  "Schoenberg still disturbs
people, but they cannot bury him".  Stravinsky's three ballets get
played, a few of his neoclassical pieces, but not too much else.

I get a lot of classical music flyers in the mail, in the ones I get,
I notice that Bartok is being played more than he used to, and more than 
Schoenberg and Stravinsky.  I don't know if it is a trend outside of my
region and this season, but it seems to be the case.

Jeff
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Rakozy March question
Organization: Camosun College, Victoria B.C, Canada
Date: Thu, 15 Oct 1992 20:17:45 GMT


> Unless it's incidental or scene change music, what's going on during
> the Rakozy (sp?) march in Berlioz "Faust"? And for that matter, what
> --if anything-- does Rakozy mean?

Prince Ferenc Rakoczy led the 1748 (?) revolt of the Hungarians against their Austrian overlords.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: jaeger@buphy.bu.edu (Gregg Jaeger)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 13 Oct 92 17:26:47 GMT
Organization: Boston University Physics Department

In article <1992Oct13.145551.2190@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <98436@bu.edu> jaeger@buphy.bu.edu (Gregg Jaeger) writes:
>>In article <1992Oct13.022331.28418@dartvax.dartmouth.edu> Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:

>>>More Glass? What have we done to deserve this. He is a second rate
>>>movie composer with his mediocre orchestration and obscene
>>>derivativeness (Brief history of time) his opera about Columbus is set
>>>partly in space with aliens (I doubt that will enter the pantheon of
>>>Great artistic achievements) he was voted most Boring Composer by
>>>concergoers for three straight years and I'll take Aida over aknaten
>>>and pure silence over Einstien on the beach

>>With this sort of reaction to new composers it's no wonder one cannot
>>find an interesting program in this country anymore. Man!

>You wouldn't happen to be a composer, would you?  8-)

>(Or a grammarian.  I didn't see any reaction to new composer*S* -- just
>to a single one...)
 
Notice that I said ``with this SORT of reaction to new composers.'' 
My point was that if people are going to judge contemporary music
based on its _entertainment value_ then we'll be stuck with the
same old ``entertaining'' music. I'd rather be ``bored'' by something
new from time to time rather then continually ``entertained'' by
the same old music -- that's all.


Gregg



-- 
Gregg Jaeger    (jaeger@buphy.bu.edu)          VOTE PEROT  VOTE PEROT       
If you think the Republicans screwed up the country, can you afford to
see what the Democrats will do!   ->BEWARE OF SLICK-WILLY CLINTON!!<-
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: Charles Ives
Date: Thu, 15 Oct 92 22:17:29 EDT

In <1992Oct15.231349.158@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:

[ remarks about Ives & Kirkpatrick deleted for bandwidth ]

>I haven't thought about recordings for some years now, and I wonder if
>there are any Ives listeners out there who can make any recommendations
>on current CD releases.

I can recommend a CD of Ives 1st and 2nd sonatas (on 1 CD!) played by
John Jensen (sp?) that is very good. I may be one who is in a minority
in that I really like the 1st sonata more than the 2nd, but certainly
love them both. Jensen tackles the 1st with wild abandon, as well it
should be, and he is very intense with the 2nd. Although there are no
credits (did he overdub them himself??), the optional flute and viola
are included in this performance, which I consider an added touch of
class. There are many difference in how Jensen plays from how Kirkpatrick
did it (I have the original set of 78's of Kirkpatrick's 2nd - for
sale to the right buyer!). Likewise, he treates the material in the
1st quite differently from how my favorite interpreter, Wm Masselos,
does. But these are worthy performances and it is nice to have both on
a single disc.
-- 
  /\/\/\/\/\/\/\/\/\/\/\/\
/--------------------------\
| Work: music@moravian.edu |
\--------------------------/
  \/\/\/\/\/\/\/\/\/\/\/\/
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: _Ballet Mechanique_ by George Antheil
Date: Tue, 13 Oct 92 16:17:40 EDT

In <1992Oct13.150511.27962@csi.uottawa.ca> kiisaka@csi.uottawa.ca (Ken Iisaka (the mad pianist)) writes:

>Ah, yes, _Ballet Methanique_ for the United ad would be... a riot ;)

>It's actually a fun piece, with lots of humour.  I was a member of a 
>percussion ensamble which performed the 4-piano + percussion version.  It was
>fun.
Who got to play the "airplane engine"? (That's certainly one of my
major goals in life ;-) )...
-- 
*-------------------------------------------------------------------------*
#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Diaghilev and Scheherazade
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Wed, 14 Oct 1992 12:42:43 GMT

In article <geol5GC00awAM=WkRl@andrew.cmu.edu>, "Alexander B. Mandl" <am46+@andrew.cmu.edu> writes:
>I would appreciate if anyone could give me some suggestions as far as
>readings or articles on Diaghilevs production of Korsakov's Scheherazade.

I can't suggest any specific readings, but I can recommend that you log in
to the online catalog of the Dance Collection of the New York Public Library.
Telnet to:  nyplgate.nypl.org
and when asked for a password, type:  nypl
Then select the appropriate catalog.  They have many photographs listed,
and perhaps, with a bit of research, you'll find something.

Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 17 Oct 92 03:21:56 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Oct16.190348.11173@dartvax.dartmouth.edu> Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:
>In article <1992Oct16.013609.22592@credence.com>
>jeffw@or.credence.com (Jeff Winslow) writes:

>> Since Glass is just barely classical music it's unlikely he's forcing anybody
>> away from it. If you're going to make outlandish claims try backing them
>> up for a change.

>And you'd call him what? Top-40?

Not in the Classical tradition.  Perhaps trying to *change* the Classical
tradition, which is pretty much exhausted, as a century of trying
to add to it has shown.

Yes, Glass *does* borrow many aspects of pop and movie and TV music.
He's closer to the Top 40 than you'd think.

>>Fella, you've got the wrong newsgroup.

>I see, love it or leave it?

>Talk about backing up arguments!! You just defend yourself by telling
>me to leave, very convincing. Modern day Plato.

No, *you* said that.  Jeff's just pointing out that your Verdi/Glass
comparisons miss the point: Glass isn't trying to be in Verdi's tradition, 
the European "serious music" tradition.  You wanna talk "Classical,"
either exclude Glass or become aware of his divergence from this
centuries-old thread.  

Roger
Newsgroups: rec.music.classical,bit.listserv.allmusic,rec.music.reviews
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Pennington Registers Big Success With Twin Operas at Lowell
Organization: Mail to News Gateway at Wang Labs
Date: Mon, 28 Sep 1992 22:51:12 GMT
Followup-To: rec.music.misc


LOWELL, MA--September 28, 1992--The Boston Conservatory's Bradley
Pennington registered a big success Sunday with his twin Lowell
Opera production of Cavalleria Rusticana and I Pagliacci.

The large audience particularly enjoyed the performance of Priscilla
Rush and Baritone Peter Aldrich, especially in their duet.

Another shining star was Yu-Xin Li as Turrido, demonstrating quite a
powerful voice.  He is under contract with New York City Opera to sing
Don Jose on tour.  Other impressive performances were turned in by
Ricardo Martino, Daniel Fusconi, Leonard Keirstead, Florenza Azzone
Small, Gladys Miles Rodriquez and Virginia Bomil.

Mr. Pennington, both a teacher and accompanist, is in his 17th year
on the faculty of the Boston Conservatory and in his fourth
teaching at Northeastern University in Boston.  His performance on
the piano was another highlight of the afternoon.

by Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.classical
From: pmy@vivaldi.acc.virginia.edu (Pete Yadlowsky)
Subject: Re: Glass meets Clive Barker response
Organization: University of Virginia
Date: Wed, 14 Oct 1992 17:41:54 GMT

Joseph J. Marcheso Jr. writes

>On the issue of Glass it always wonderful to see people embrace
>modernity for modernity's sake.

I've never listened to modernity. What's it sound like?

>For those who prefer to listen to boring music on occasion then
>you've found a perfect man in Glass. 

Great. Another clown with impeccable taste who knows more than I do
about what bores me. 

>Good music still has a duty to the common people.

I'm the common people and I make the rules here, thanks: music and
those (common people) who make it owe me nothing and it isn't good,
bad or anything else until I've heard it. 

>Its not the people that are turning away from classical music its the
>fact that Glass et al. are FORCING them away in droves with this
>derivative noise.

Right. It forces them away so violently that the doorways quickly
become jammed with bodies and the concert halls only _appear_ to be
filled with enthusiastic audiences while actually they're sitting
quietly, pondering alternate escape routes.  

--
Peter M. Yadlowsky              |  Wake! The sky is light!
Academic Computing Center       | Let us to the Net again...
University of Virginia          |    Companion keyboard.
pmy@Virginia.EDU                |                      - after Basho
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: Alternate Classical-Music FAQ Memo
Organization: Credence Systems Corp. Beaverton, OR
Date: Sat, 17 Oct 1992 00:49:18 GMT

In article <MARCA.92Oct14200258@wintermute.ncsa.uiuc.edu> marca@ncsa.uiuc.edu (Marc Andreessen) writes:
|In article <1992Oct13.164910.18433@newstand.syr.edu>
|jmwobus@mailbox.syr.EDU (John M. Wobus) writes:
|
|    Actually, believe it or not, within these constraints, today's
|    composers put a lot of attention into making the music listenable
|    and to writing something which will get played.  The idea that the
|    average composer of contemporary music completely ignores his
|    audience is simply not true.
|
|Not to sound like an uneducated boor (which, naturally, I am), can you
|name some of these composers?  I.e., those who write compositions that
|won't make me leap at my CD player, smash my fist down on the ``STOP
|DAMMIT STOP'' button, and hurl the disc into a blast furnace.

I don't understand why you think the two are equivalent. Just because the
composer puts a lot of effort into making something listenable doesn't
mean any particular individual is going to like it.

I like your word-pictures, though. :-)

						Jeff Winslow
Newsgroups: rec.music.classical
From: ssc@nwu.edu (Steven Chung)
Subject: Re: Recommendations wanted: Rachmaninov Piano Con. 3
Originator: schung@casbah.acns.nwu.edu
Organization: Northwestern University, Evanston Illinois.
Date: Wed, 14 Oct 1992 22:35:13 GMT

In article <7248@transfer.stratus.com> jmann@vineland.pubs.stratus.com writes:
# 
# Horowitz made two recordings of the concerto. The older one 
# (with Reiner, I think) is quite good also.  I haven't heard
# the newer one (with Ormandy) but I've heard that it is nowhere
# near as good as the older recording.

Actually, he did three; the oldest (w/Coates, I think) is in a three-disc
set from EMI with other early recordings (like the first-ever Liszt sonata
on disc).  Then again, knowing EMI, it's probably been deleted along with
everything else not featuring Nigel.
From: wells@cdsmn.mn.org (Rich Wells)
Newsgroups: rec.music.classical
Subject: Re: Music Club (Mail Order) Recommendations Sought
Date: 13 Oct 92 15:19:02 GMT
Organization: Dicomed, Inc
X-Newsreader: TIN [version 1.1 PL6]

Victor Eijkhout (eijkhout@cupid.cs.utk.edu) wrote:
: In article <1aqbv1INN2u2@agate.berkeley.edu>, newton@garnet.berkeley.edu (Isaac Newton) writes:
: |> I'm looking to join a music club.  If you have a recommendation
: |> for one, I would love to know about it.  My main criteria is
: |> selection, especially operas.
: 
: Selection? Hm.
: 
: BMG classical music has a mediocre selection, but they have *many*
: special offers. Just about every other catalogue is everything half
: price, and I just ordered three cds from the latest catalogue
: which was on the principle of buy one (@ $15.98) get two free.

I often use their special offers to buy one or two that I'm relatively
sure I'll like, and then for the freebies I'll branch out and buy
things that I've heard _of_ but never actually _heard_.

Also, I'm a relative newbie to the world of classical music, so
the lack of selection doesn't bother me.  Yet.

: They do include s&h at not particularly low rates, but still.

Quite true.  For $1.26 per disc, I would almost expect
hand-delivery via courier.
-- 

Richard Wells  wells@cdsmn.mn.org  or  ...!tcnet!cdsmn!wells
Newsgroups: rec.music.classical