HDTenEightyP/NetNews huggingface dataset:
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Charles Ives
Organization: Camosun College, Victoria B.C, Canada
Date: Fri, 16 Oct 1992 16:57:55 GMT

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

   For some reason, the approach of the cold months and the holiday season
   makes me think of Charles Ives. It could be that, in spite of what might
   appear as iconoclastic tendencies in his music, he seems to me to be
   quintessentially American, or more specifically, Yankee. And his
   "yankeeness" evokes, in me, images of what most distinguishes the New
   England experience. Ives evokes New England the way Villa-Lobos evokes
   Brazil. It's really quite remarkable.

   I had the pleasure of hearing, in person, John Kirkpatrick play the
   Concord sonata. JK knew Ives personally, and before playing he recalled 
   some impressions about Ives. He brought Ives to life first in words,
   and again with his music. Of course, this music can be quite a shock to
   the uninitiated, with its shifting tonalities, unusual dissonances, and
   almost startling mixed rhythms.

   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.

There seem to have been quite a few recently. You can now buy all 4
symphonies on Sony conducted by Tilson-Thomas, although in recoupling
the 3rd with the 2nd, they dropped the 2nd orchestral set completely.
Although the greatest Ives fanatic I know disagrees, I prefer
Stokowski's version of the 4th  - also available on Sony coupled with
the Robert Browning Overture and a couple of songs - to T-T's.

What *I* want to know is when, if ever, Sony are going to rerelease
the rest of the 1974 centenary box. OK I can live without the
Celestial Country, but there are other choral songs (including General
William Booth) and a whole LP of Ives himself playing - mostly
terribly recorded, but it includes a complete performance of 'The
Alcotts' and much improvision on Concord themes, plus the *fabulous*
version of 'They Are There' he made in 1943, which the Kronos Quartet
rather arrogantly - IMO - decided to 'accompany' on their 'Black
Angels(?)' CD.  The original is *miles* better; Ives may not have had
much of a voice by the time he was 69, but his enthusiasm overrides
all else.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical
Subject: Re: Tallis Scholars...
Date: 16 Oct 92 23:08:16 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <1bic3eINNhct@usenet.INS.CWRU.Edu> as432@cleveland.Freenet.Edu (Scott Dettra) writes:
>In a previous article, velde2@jhunix.hcf.jhu.edu (Velde Francois) says:
>
>>[He doesn't like the Brumel.]
>
>[He doesn't like it, either.]

Interesting.  I thought it was a fine piece of music.  Among my friends for
whom I played the disc, it went 1-1, but we two who like it feel pretty
stongly about it.

-chris
Newsgroups: rec.music.classical
From: mr@rwthi3.informatik.rwth-aachen.de (Matthias Rademacher)
Subject: GLASS: The voyage
Summary: "The voyage" by GLASS on netehrlands radio
Keywords: Opera, Music, Glass, Radio
Organization: Rechnerbetrieb Informatik  /  RWTH Aachen
Date: 16 Oct 92 08:34:00 GMT

The broadcast of the Metropolitan Opera's world premiere of 
"The Voyage", by PHILIP GLASS will be repeated in Europe!

Programme Nederland Radio 4, Monday, October 19th 1992, 
 20.00 - 24.00

   Matthias Rademcher (mr@rwthi3.informatik.rwth-aachen.de)
From: Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.)
Newsgroups: rec.music.classical
Subject: Re: DEBATE for those who are interested
Date: 15 Oct 92 03:09:12 GMT
 <1992Oct14.123244.22276@murdoch.acc.Virginia.EDU>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu


What the hell do you know? I laugh at your "its so stupid, a child
could write it" comments on music. Do you know anything? I never said I
loved ALW just that he's on the right track. Why don't you respond with
something substantive. Or are you too busy think up more amateurish
one-liners?
Organization: University of Illinois at Chicago
Date: Thursday, 8 Oct 1992 09:40:23 CDT
From: <U58402@uicvm.uic.edu>
Newsgroups: rec.music.classical
Subject: Re: Why LPs are superior to CDs (was Re: Why switch to CD?)
 <1992Oct6.200556.28599@viewlogic.com>

In article <1992Oct6.200556.28599@viewlogic.com>, brad@buck.viewlogic.com
(Bradford Kellogg) says:
>
>Yes, LPs are superior to CDs...

Besides, you can't make an candy tray for second grade art class out of
a CD by placing it in the oven and bending the sides up.

Wilbur Pan                                  u58402@uicvm.uic.edu
----------------------------------------------------------------
This article does not represent the opinions of the Deans of the
College of Medicine of the University of Illinois at Chicago.
They're not that clever.
From: 00hfstahlke@bsu-ucs.uucp
Newsgroups: rec.music.classical
Subject: SCDOWN
Date: 15 Oct 92 14:41:52 GMT

I'd like to thank all of you who replied to my query about why to switch from
cassette to CD.  Even if you hadn't convinced me of the inevitability and
rewards of doing so, I would add the following:

CD players do not eat CDs.  My cassette player, a decent one and just recently
cleaned, just ate a Claudio Arrau performance of Beethoven sonatas Op. 13 and
Op. 2 No. 3.  It obviously has impeccable taste, if little consideration.  I
assume CD players do not capriciously wrap electrons around spindles.

I sense inevitability here, but I bear in mind that my family did not purchase
a VCR until three years ago or a microwave oven till two years ago.  We may not
be, as in Hamlet, "The first by whom the new is tried," but we're probably
close to "the last by whom the old is cast aside."

Herb Stahlke
Ball State University
Newsgroups: rec.music.classical
From: rchrd@netcom.com (Richard Friedman)
Subject: Re: pierrot lunaire
Organization: Applied Parallel Rsrch (Berkeley)
Date: Mon, 12 Oct 1992 18:47:41 GMT

ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:

>I am looking for a version of Pierrot lunare, op 21, by Schoenberg.  I
>already have the version by the Budapest Chamber Orchestra/ Erika
>Sziklay, soprano.  There is much I like about this version, but think
>the vocal solo could be more convincing.

>Any suggestions?

The best recording so far is on Koch/Shwann with the Schoenberg
Ensemble from Amsterdam conducted by Reinbert de Leeuw (sorry if i
spelled it wrong).  The voice is an actress who can sing.  She is
the female lead in the Sam Shepherd film of "Homo Faber" by Max Frisch,
called in ENglish "Voyager".  AN excellent excellent film.  Barabar
Sukova (I think I spelled it right, the CD is at home and I'm not)

This is by far the very best recording! The voice is perfect.  The
recording and the performance is staggering.  I have checking itwith
the score, and I am amazed at how accurate the vocal line is.
I have many of the other recordings, including the old one with
Schoenberg hisself conducting (awful), and the Boulez.  This is
really the best!.

-- 
/\=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=/\
\/Richard Friedman (510)528-7055  |  rchrd@netcom.com    
/\Applied Parallel Rsch (Berkeley)|                          /\
\/=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=\/

Xref: sparky rec.music.classical:14071 rec.music.early:1348
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Newsgroups: rec.music.classical,rec.music.early
Subject: Re: Tallis Scholars...
Date: 11 Oct 92 19:22:44 GMT
Article-I.D.: jhunix.1992Oct11.192244.29737
Organization: HAC - Johns Hopkins University, Baltimore

In article <1992Oct9.173304.26320@visual.com> rwh@visual.com (Rob Holzel) writes:
>Alan S. Florjancic writes:
>
>>Would anyone know if the Vocal Group, the Tallis Scholars has 
>>released any new music within the past few months.  
>
>I just got their recording of Brumel's "Earthquake Mass."  It features
>12-part counterpoint, and their do their usual outstanding job.
>
>Rob

I love the Tallis scholars, and tend to buy their (not cheap) CDs
blindly. So I picked up said recording of Brumel, which I found
incredibly boring.  Is it just me? If I like Jannequin, why don't
I like Brumel?
From: psu@cs.duke.edu (Peter Su)
Newsgroups: rec.music.classical
Subject: Re: Alternate Classical-Music FAQ Memo
Date: 16 Oct 92 13:38:48 GMT
	<MARCA.92Oct14200258@wintermute.ncsa.uiuc.edu>
	<1992Oct15.154623.3338@fid.morgan.com>
Organization: Duke University CS Dept., Durham, NC
In-reply-to: steve@fid.morgan.com's message of 15 Oct 92 15:46:23 GMT

In article <1992Oct15.154623.3338@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:


   Try:	Rautavaara
	   Crumb
	   Hovhaness
	   Lloyd
	   Kanchelli
	   Gorecki

And how about:

Piston, Diamond, Hanson, Vaughn Williams (maybe doesn't count),
Bliss,...Ellington. (half :-).

Pete


--
Department of Computer Science, Duke University, Durham, NC 27706
Internet:	psu@cs.duke.edu
UUCP:		mcnc!duke!psu
From: jimn@phred.UUCP (Jim Nevermann)
Newsgroups: rec.music.classical
Subject: Rakozy March question
Date: 14 Oct 92 19:25:12 GMT
Reply-To: jimn@phred.UUCP
Organization: Physio-Control

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?

Thanks
Newsgroups: rec.music.classical
From: wchaga@vela.acs.oakland.edu (William C. Haga)
Subject: Re: Rott's Symphony
Organization: Oakland University, Rochester MI.
Date: Sat, 10 Oct 1992 01:13:11 GMT

In article <16147@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
>There was some discussion here about Rott's Symphony recently. Does anyone
>know if there was a review of the BIS version in Fanfare yet? More
>specifically, I would like to know which is best because my favorite CD store
>is having a big sale this holiday weekend! Please post quickly!
>


I ventured to the all classical store in search of Rott, and discovered
two recordings -- the BIS with the Norrkoping symphony, recorded in 1992,
and an earlier one by the Cincinnati Philharmonia.  It was the Cincinnati
group that gave the symphony its first performance in 1989, 109 years 
after it was finished.  I compared the timings; the BIS recording is 64
minutes, and the Cincinnati one was ten minutes shorter.  Since I
usually like slower tempi, I bought the BIS, a buying decision based
on nothing more than the timings.

I am not disappointed!  The recording is superb, especially of the
brass.  The performance was impressive.  Those familiar with Mahler's
symphonies will indeed find this an interesting listen.  Mahler studied
Rott's score and you will hear snippets all throughout that you will
recognise.  It was definitely a source of ideas for Mahler's Second,
I'd say.

Rott was only 20 when he finished the first movement.  Not bad for
such a young'un.

Bill
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 13 Oct 92 20:25:44 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <98512@bu.edu> jaeger@buphy.bu.edu (Gregg Jaeger) writes:
>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.'' 

Still, I don't see any evidence of a trend right here...

>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.

False dichotomy.  New things can entertain, too.  Some of them,
at least.  I might also point out that most people judged _Rinaldo_,
_Figaro_, _Freischuetz_, _Rigoletto_, etc. on their entertainment
value as well, so this is nothing new.  Opera is musical theatre,
and theatre is aform of entertainment, among other things.  There's
lots of good music in bad operas that nobody does --- because they
don't work well on the stage, and don't ahve a theatrical effect.
This is true of Schubert, Schumann, and many other composers.

Roger
From: marcs@slc.com (Marc San Soucie)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 15 Oct 92 02:09:11 GMT
Article-I.D.: slc.1992Oct15.020911.15679
Distribution: na
Organization: Servio Corp, Beaverton Oregon, US

Roger Lustig (roger@crux.Princeton.EDU) writes:

> Joseph J. Marcheso Jr. (Joseph.J.Marcheso.Jr.@dartmouth.edu) writes:

> > Glass is just an also-ran in the twentieth century. 

> What's that in English?

I suppose this is what comes of requiring all Dartmouth students to learn 
how to use computers.

    Marc San Soucie
    Portland, Oregon
    marcs@slc.com
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Newsgroups: rec.music.classical
Subject: Re: Bach Cello Suites on Period Instrument: Rec. Wanted
Date: 11 Oct 92 19:19:03 GMT
Article-I.D.: jhunix.1992Oct11.191903.29287
Organization: HAC - Johns Hopkins University, Baltimore

In article <2AD61042.11152@news.service.uci.edu> jdooley@maemaster.eng.uci.edu (John R. Dooley) writes:
>
>I've heard quite a few recordings of the Cello Suites.  I'm not at all
>impressed by either YoYo Ma or Lynn Harrell.  They seem to rush through
>the dances without much grace.  I like the Starker on Mercury.  His
>readings are fairly dramatic - not exactly what you'd expect.  But, 
>the punch line is that (from what I've heard) Bertrand is 100% right.
>Pierre Fournier is sublime.  His performance is exquisite.

Any opinions on Mischa Maisky? I heard him once in concert playing three
of the suites. It seemed like a fight to the death between the instrument
and the artist (he had to change his soaking shirt between each suite),
but the resulting sound was beautiful.  The recording (on DG) is a bit
flatter than my memory of the concert.

Christophe Coin is a remarkable artist: has he recorded the suites?
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: EMI price increase
Organization: Camosun College, Victoria B.C, Canada
Date: Thu, 15 Oct 1992 20:21:12 GMT

In article <Bw65H4.Apr@dcs.glasgow.ac.uk> jack@dcs.glasgow.ac.uk (Jack Campin) writes:

   ssc@nwu.edu (Steven Chung) wrote:
   > No doubt others know this better than I, but CD prices in England, for
   > example, seemed to me pretty much in line with the rough 1 pound = 1 dollar
   > standard of other similar items (books, movies etc).  The tax system is the
   > culprit, I think.

   Since there are sales taxes on books in some US states, and none in the UK
   or most other European countries, try another explanation.

   British VAT on CDs is 15% (ultimately only paid by the consumer, since
   everyone else in the chain can claim it back).  The difference between US
   and UK prices is far more than that, even if you ignore US state taxes.

Hey Jack, I may have been out of the country for 4 years, but even *I*
know that VAT is now 17.5% - or did it just go down again?

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 14 Oct 92 03:45:43 GMT
 <98436@bu.edu>  <1785@heurikon.heurikon.com>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

Gee I'm not sure how to take your description but nonethless I shall
try to explain myself to you too. Glass' works are mediocre compare to
the better film composers (Again as related to the Brief History of
TIme) Williams, Elfman and Morricone. I find him very derivative of
Cliff Eidelmann in his portrayal of the cosmos feeling in "Brief"
However I'm glad you're taking this better than some of the hate
blitzes I have recieved on this issue. Nonetheless I carry this cross
with utmost joy. 
Have any clearer an idea?
Take Care, 
JJM
From: "hilary miller" <hilary.miller@execnet.com>
Newsgroups: rec.music.classical
Subject: how much should i pay
Date: 14 Oct 92 07:17:13 EST
Reply-To: "hilary miller" <hilary.miller@execnet.com>
Distribution: rec
Organization: Executive Networks Information


Stephen Harrison, in a message to All on 10-12-92 at 3:20pm, said:

SH>|A friend is in the market for a Steinway grand, and would like to know 
   |a reasonable percentage of list price to shoot for when it comes to tal
   |about money.  Cars, oriental rugs, and most other musical instruments a
   |priced well over dealer cost---I assume grand pianos are the say way.
   |Does anyone know what the scoop is on how to purchase one of these fine
   |without spending quite as much as the salesperson would like you to?
   |_______________________________________________________________________

               Everything is negotiable, but Steinway has the
               annoying habit of selling substantially all of its
               output through its company-owned distribution
               channels.  Independent dealers cannot by law be
               required to maintain a manufacturer's suggested
               retail price.  Times are very tough right now and
               the salesman or sales manager should be willing to
               deal -- make an offer.  Alternatively, buy a
               *used* Steinway.  You may get a better piano, and
               the market is more flexible.


   L A
 I    R        Hilary B. Miller of Greenwich, Connecticut
  H/\Y         CIS: 76040,1743
    
---
  DeLuxe 1.25 #11645  ASCII stupid question - get a stupid ANSI
--
Executive Network Information System  (914) 667-4567
International ILink Host
From: mvburke@silver.ucs.indiana.edu (mary virginia burke)
Newsgroups: rec.music.classical
Subject: Re: Bach Cello Suites on Period Instrument: Rec. Wanted
Keywords: Bach, Cello Suites
Date: 9 Oct 92 05:10:40 GMT
Organization: Indiana University

In <1992Oct8.164533.9425@cs.umb.edu> jboor@mote.cs.umb.edu (Joan Boorstein) writes:

[stuff re: Blysma/Wispelwey suites deleted]

>I have also recently heard part of a recording of Wispelwey doing the 
>Beethoven Sonatas for Cello & Piano -- I want to hear this again -- 
>has Bylsma done these? if so, who plays the fortepiano?

>Joan Boorstein (jboor@cs.umb.edu)

Hi Joan--Yep, Bylsma has done them, with Malcolm Bilson on fortepiano.  The 
first volume was released some years ago, the second one only recently.  Sorry,
I forget the label, but you should be able to find them at Tower.  They're
marvelous!

Bye--MVB
Newsgroups: rec.music.classical
From: mikulska@crux.Princeton.EDU (Margaret Mikulska)
Subject: Re: Dr. Faustus
Originator: news@nimaster
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Date: Fri, 16 Oct 1992 23:17:28 GMT

In article <1992Oct16.181639.5577@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:
>In article <1992Oct16.151846.18776@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>>
>>Depends on what kind of understanding you want to achieve.  Only Brian
>>would argue that there is only one "correct" understanding of a piece,
>
>No, I would make that claim as well.  My argument is simple:  

And incorrect.

>Suppose there were two totally correct interpretations of a piece.

First, it depends what you mean by "correct", "interpretation", and
"piece".

>Either they agree, in which case they do not differ, or they disagree,
>in which case they must disagree on at least one claim P about the
>piece.  By hypothesis, at least one of the interpretations is totally
>correct, so if that one says that P, the other must say that not-P.
>But not both P and not-P.  So, contrary to hypothesis, there can be
>at most one totally correct interpretation of a piece.

Apart from your flawed logic, your argument can be destroyed as follows:
Consider some older music, from the times when instrumentation wasn't
specified as exactly as we are used to, and when it was common practice
to play the same piece on different instruments.  Different ensembles
will choose different instrumentation.  Who is "correct"?

Of course, the same argument can be illustrated by any music with 
aleatoric elements.

>See what a little logic can do to straighten out the mess that
>aestheticians have gotten us into?

Sometimes a little knowledge is worse than no knowledge.


-Margaret
From: jaeger@buphy.bu.edu (Gregg Jaeger)
Newsgroups: rec.music.classical
Subject: Re: Glass meets Clive Barker response
Date: 13 Oct 92 14:41:59 GMT
Organization: Boston University Physics Department

In article <1992Oct13.075353.11199@dartvax.dartmouth.edu> Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:
>In article <98436@bu.edu>
>jaeger@buphy.bu.edu (Gregg Jaeger) writes:

>> With this sort of reaction to new composers

>It's sad that you confuse novelty for originality.

I said simply that Glass is a new composer. It seems you have a chip on
your shoulder



-- 
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: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Barenboim's new Bruckner cycle
Organization: Camosun College, Victoria B.C, Canada
Date: Wed, 14 Oct 1992 20:08:15 GMT

In article <92288.091450RHASKINS@UMAB.BITNET> Robert Haskins <RHASKINS@UMAB.BITNET> writes:
[...]
>And I'm curious, Deryck -- what are the special hurdles in Symphony No. 6?
>I know this work some, but it doesn't seem to present any really thorny problem
>s.  And what's a good recording to get?

Well, it's not so much that there *are* special hurdles, it just seems
that few people manage to present a convincing coherent reading of the
work. Perhaps it's the fact of its relatively small and concise nature
coming in between the larger 5th and 7th. My favourite performance bar
none is the PO/Klemperer (~1965) on mid-price EMI.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Richard III
Date: 7 Oct 1992 11:34 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

 I believe Walton wrote the film score - he also did Hamlet and
Henry V, so would seem likely. If so, the music is available on
Chandos since they've issued/are issuing all of Walton's film music
(4 or 5 cds so far). 

 Neill Reid 
Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: pierrot lunaire
Organization: Educational Computing Network
Date: Sun, 11 Oct 1992 20:59:50 GMT

I am looking for a version of Pierrot lunare, op 21, by Schoenberg.  I
already have the version by the Budapest Chamber Orchestra/ Erika
Sziklay, soprano.  There is much I like about this version, but think
the vocal solo could be more convincing.

Any suggestions?

Jeff 
Newsgroups: rec.music.classical