HDTenEightyP/NetNews huggingface dataset:
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Newsgroups: rec.music.classical
Subject: Re: Mozart recommendations
Keywords: Mozart, chambermusic
Date: 12 Nov 92 16:50:05 GMT
Organization: University of California, Irvine

In article <1992Nov12.123731.17169@hsr.no> oppen@hsr.no (Eirik Oppen) writes:
>Here are two questions regarding recordings of some chamber music 
>by W.A.Mozart, I hope to get some reply on.  I am looking for the best CD,
>in terms of sound and performance of the following:
>
>1     The clarinet quintet, K581
>

Two recommendations on this one.  First on Denon there's David Schifrin
and members of the Northwest Chamber Orchestra.  It's coupled
with the Clarinet Concerto.  This recording is best if you want the
finist clarinetist, but the string section is a little (but not
overly) cumberson.  The Clarinet Concerto is a great recording.
Schifrin uses an extended clarinet that has an extended range,
so he can reach bass notes called for in the original score.

Second on L'Oissee Oyre (sp?), Michael Paigh (sp?) and the Acadamy
of Ancient Arts Quartet.  This recording is gorgeous.  In the 
parts that really highlight the virtuosity of the clarinetist, this
recording doesn't live up to the Schifrin.  But, in the portions
(like all of movements 1 and 4) that require a fluid string quartet
that interacts well with the clarinetist, this recording is much 
better than the Shifrin.  The CD also has an Oboe Quintet and 
a Horn Quintet.  (Actually, these may be quartets.)

John D.
From: maverick@fir.CS.Berkeley.EDU (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Bruckner = Bad Vibes?
Date: 5 Nov 1992 17:41:17 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: fir.cs.berkeley.edu

In article <17148@mindlink.bc.ca>, Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
|> The reference to the Scandinavian musician becoming ill or feeling nauseated
|> after playing Bruckner shortly after WW II was found in a discography of
|> Bruckner published in High Fidelity many years ago.

I think it's a case of association.  Roger has
mentioned that the 7th was adopted as quasi-official
Nazi Party music.  Still sounds good to me, but I can
understand that someone who had been until lately under
the heel might be nauseated.

|> For me, Bruckner has his moments, some of which are truly extraordinary, like
|> the horn passages at the beginning of the 6th symphony. But on the whole I
|> find listening to his music like watching a glacier move...it's boring as
|> hell. I've never heard a live performance of a Bruckner symphony which
|> aroused me out of my lethargy and recorded ones which rise above the level of
|> monotony are few and far between.

For me, Bruckner was a one-idea composer who stuck to
it with such dedication that it began to work -- upon
which it became more than "one idea".  Thus I hear
the 7th-9th as "the Bruckner symphony", of which the
best movement is the last (and the best tune the first).

Give it a shot.  Somebody recommended Walter, and that
makes sense, but I even like the Mehta/NYPhil recording
someone gave me, despite the brass (the last chord
wobbles badly).

	Vance
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re:Piano transcriptions
Organization: MIND LINK! - British Columbia, Canada
Date: Fri, 6 Nov 1992 06:15:27 GMT

I have quite a lot of piano duet arrangements, including Mahler's 9th
symphony (along with his 1st, 2nd, 3rd, 4th and 5th)... Does anyone know if
the other symphonies have been released to the public domain (in piano duet
form, that is)?

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Re:Piano transcriptions
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 9 Nov 1992 04:08:05 GMT

In article <hal.19.721075993@radio.wkar.msu.edu> hal@radio.wkar.msu.edu (Hal Prentice) writes:
>In article <17191@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
>>From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
>>Subject: Re:Piano transcriptions
>>Date: Fri, 6 Nov 1992 06:15:27 GMT
>>I have quite a lot of piano duet arrangements, including Mahler's 9th
>>symphony (along with his 1st, 2nd, 3rd, 4th and 5th)... Does anyone know if
>>the other symphonies have been released to the public domain (in piano duet
>>form, that is)?
>>
>Liszt arranged all of Beethoven's Symphonies for either piano or two pianos (
>in the case of the 9th) along with many works by other composers.  Brahms 
>published his 4th Symphony arranged for 2 pianos.  

Actually Brahms made arrangements of all four symphonies for 2 pianos,
but I don't know whether 1-3 were published. 

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Organization: Johannes Kepler University Linz - Computing Center
Date: Friday, 6 Nov 1992 12:23:46 CET
From: Stefan Ratschan <K3067E0@ALIJKU11.BITNET>
Newsgroups: rec.music.classical
Subject: Re: Messiaen on Organ (was Re: Messeian recommendations?)
 <1992Nov5.004644.6263@viewlogic.com> <100681@bu.edu>
 <1992Nov5.184951.9204@viewlogic.com>

Probably it was Messeain himself improvising. He was the main organist
at Notre Dame.
Newsgroups: rec.music.classical
From: coren@speed.osf.org (Robert Coren)
Subject: Pre-publication _Dichterliebe_
Keywords: Hampson, Schumann, Dichterliebe, expanded
Organization: Open Software Foundation
Date: Fri, 13 Nov 1992 18:39:30 GMT

Last night I heard a recital in Boston given by the baritone Thomas
Hampson. In glancing at the paper that morning to find out what I was
going to hear, I saw "Dichterliebe, expanded form (American premiere)"
and thought to myself "Hello? What's this?"

What it is, is that the original 1840 manuscript of this cycle
contains 20 songs, and a wordy descriptive title that doesn't contain
the word "Dichterliebe" at all; but by the time it saw print (in 1844)
it had been reduced to the 16 songs we all know and love today.
Hampson apparently teamed up with a German researcher named Renate
Hilmar-Voit to look into this and try to find out more about it, and
mostly what they found (as described at inordinate length in a
quotation from Hilmar-Voit in the program notes) is no explanation
whatever of how, why, when, or by whom the four songs were eliminated.

Anyway, what Hampson performed was the cycle as it appears in
Schumann's manuscript, which includes not only the four additional
songs but a large number of variants in the vocal line, a few in the
texts, and some in the accompaniment. As someone who is intimately
familiar with this cycle in its published form, I found it very
difficult to evaluate on its merits. It's an interesting historical
document; I'm not usre it is (or should be) anything more.

Has anyone else heard this version? (Hampson has performed it in
Europe; also I suppose some of you might have been in Jordan Hall last
night :-).) What do you think?

If there's sufficient interest, I might provide some more details,
both about the nature of the changes and the material in the program
notes (although there's no way I'm going to type in the whole bloody
essay). Without doing that, I think it would be pointless to say much
about my personal reactions.
Newsgroups: rec.music.classical
From: mbfeld@unix.amherst.edu (Lorenzo the Magnificent)
Subject: Re: Question on composer of a piece!
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL6]
Date: Sat, 7 Nov 1992 01:19:30 GMT


JAMES LEON FALCONE (910394f@ace.acadiau.ca) wrote:
: onf@cbnewsg.cb.att.com (omar.farooq) writes:
: >Does anyone know who composed "Night on Bald Mountain",
: >and what year it was composed in?
: >
:
: Modest Mussorgski made the first sketches for "Night on Bald Mountain" in 
: 1860 and Rimsky-Korsakov finished orchestrating it in the 1890's.
:              J.Falcone

Rimsky did more than orchestrate _Night On Bald Mountain_. Evidently, 
Mussorgsky's sketches were enough to infer how the piece would go;
Rimsky tightened them up into a more concise musical form.

I learned this listening to a recording of the "original" _Night On
Bald Mountain_, untouched by Rimsky (but in full orchestrl score; maybe 
someone else orchestrated a little).  Compared to the _Night_ I know and
love, it was a real disorganized piece of crap!!!!!  It needed whatever
Rimsky did for it.

The piece should really be considered a collaboration.

Marlon Feld, Amherst College
From: wiener@duke.cs.duke.edu (Edward Wiener)
Newsgroups: rec.music.classical
Subject: Brahms
Date: 12 Nov 92 05:34:36 GMT
Article-I.D.: locust.721546474
Organization: Duke University Computer Science Dept.; Durham, N.C.

To those who haven't yet been awestruck by a great
Brahms piece, I would recommend the Violin Concerto.
This is IMHO far and away the most monumental work
ever written in this genre.  Enjoy!

-- Eduard Wiener
Newsgroups: rec.music.classical
From: derek@loligo.cc.fsu.edu (Derek J. Sedlack)
Subject: .mid files for Win Jammer
Summary: background music
Organization: Florida State University Computing Center
Date: Sat, 7 Nov 92 06:21:01 GMT

I just got Win Jammer for Windows, it creates background music while you
do other things. Would anyone happen to have some "GOOD" classical
.mid files of either JS Bach, or Brahms, or something to that effect?

/=============================================================================\
|    "I must protest sir; I am _NOT_ a merry man!" - Warf from ST-Next Gen.   |
|-----------------------------------------------------------------------------|
|"Time is a gypsy caravan 						      |
|     Steals away in the night 						      |
|         To leave you standed in Dreamland" - Neil Peart of "RUSH"	      |
|-----------------------------------------------------------------------------|
|  FFFFFF  SSSSSS  UU  UU  \	   Derek J. Sedlack  			      |
|  FF      SSS     UU  UU    \      					      |
|  FFF 	      SSS  UU  UU      \   		derek@loligo.cc.fsu.edu	      |
|  FF      SSSSSS  UUUUUU	 \ 					      |
\=============================================================================/
From: hal@radio.wkar.msu.edu (Hal Prentice)
Newsgroups: rec.music.classical
Subject: Re: Re:Piano transcriptions
Date: 6 Nov 92 18:53:14 GMT
Organization: Broadcasting Services, Michigan State University

In article <17191@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
>From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
>Subject: Re:Piano transcriptions
>Date: Fri, 6 Nov 1992 06:15:27 GMT
>I have quite a lot of piano duet arrangements, including Mahler's 9th
>symphony (along with his 1st, 2nd, 3rd, 4th and 5th)... Does anyone know if
>the other symphonies have been released to the public domain (in piano duet
>form, that is)?
>
Liszt arranged all of Beethoven's Symphonies for either piano or two pianos (
in the case of the 9th) along with many works by other composers.  Brahms 
published his 4th Symphony arranged for 2 pianos.  Busoni arranged 
Mendelssohn's Symphony No. 1 for piano-four-hands.  Schoenberg made 
innumerable piano arrangements of nearly everything including Rossini 
operas.

  
----------------------------------------------------------------------
Hal Prentice, FM Program Manager      Michigan State University
WKAR-FM, 283 Communication Arts Bldg  East Lansing, MI 48824-1212 USA
Internet: hal@radio.wkar.msu.edu      Bitnet: hal@radio.wkar.bitnet
----------------------------------------------------------------------
From: abrocke1@cc.swarthmore.edu (Aaron Brockett)
Newsgroups: rec.music.classical
Subject: Bad Brahms (Was Re: Brahms symphonies question)
Date: 11 Nov 92 04:54:16 GMT
Organization: Swarthmore College

In article <96518@netnews.upenn.edu>, shari@pobox.upenn.edu (Shari L. Bart)
writes:
> 
> How are the Brahms symphonies, you ask? Oh boy, where to begin. From a
> musicians point of view, they are incredible structurally, thematically,
> and they are amazing to play. But simply from the listeners point of view,
> they are equally fabulous.  I recommend starting with Brahms 1st symphony.  I
> have a recording of Bernstein conducting Vienna - a recording of the
> complete symphonies, but I think they were also released separately -- which I
> highly recommend.  But there are a
> lot of really good recordings out there.  All four symphonies are wonderful.  
> 
> However, while you're looking into Brahms, may I also recommend the Brahms
> double concerto for Cello and Violin? That is a fabulous piece of music. 
> But then again, this is Brahms we're talking about. You're not going to
> find much (if any) that is bad.

Speaking of bad Brahms, does any exist? Are there any pieces of his that
people find lacking? I know that he tore up some works he found less than
satisfactory.

--Aaron Brockett
From: al@sys6626.bison.mb.ca (haus der luge)
Newsgroups: rec.music.classical
Subject: Re: Cage - The Controversy Continues
Date: Tue, 10 Nov 92 12:55:03 CST
Organization: System 6626 BBS, Winnipeg Manitoba Canada

As to Cage being a mushroom hunter -
 
My message was, of course, intended to be more slightly humorous in 
content, an element which this sub-board is extremely short of.
 
I appreciate your elucidations however.
 
HausDerLuge
 
Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Messeian recommendations?
Organization: UCLA Mathematics Department
Date: Tue, 10 Nov 92 18:41:12 GMT

In article <1992Nov9.205157.22211@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>In article <BxGFoD.wu@brunel.ac.uk> David.Martland@brunel.ac.uk (David Martland) writes:
>>Paolo Leva writes in answer to Bob Martino:
>>
>>
>The most *exciting* performance I ever heard was a relay from a prom a
>few years back, with the National Youth Orchestra under Mark Elder (I
>think). The Martenot were *really* cranked up high.
>
>Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.

I went to that Prom performance ! It was Mark Elder and Peter Donohoe was
the pianist. It was indeed a fabulous performance. The NYO were quite
amazing. Donohoe was brilliant as well.

David


Newsgroups: rec.music.classical
From: lschmers@magnus.acs.ohio-state.edu (Lawrence S Schmersal)
Subject: Die Dreigroschneoper in OH/PA
Summary: Any new performances of Threepenny or new Weill recordings coming?
Organization: The Ohio Living Room
Date: Sun, 8 Nov 1992 16:35:24 GMT

I was wondering if anyone had any info about upcoming performances of
Threepenny Opera in Ohio, Indiana or Pennsylvania in the next year.  I haven't
seen it in a long while and would like to--besides the latest Kurt Weill
Newsletter (yes, it exists) hasn't come out yet and I'm going into withdrawl.

While we're on the subject, does anyone know of upcoming Weill recordings or 
re-releases?  Lady in the Dark?  The Eternal Road?  Die Buergschaft?  I'm 
hungry.

Thanks,


Steve
Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Subject: Re: Bad Brahms (Was Re: Brahms symphonies question)
Organization: HAC - Johns Hopkins University, Baltimore
Date: Wed, 11 Nov 1992 19:12:14 GMT

In article <1992Nov11.184051.22829@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>In article <LR1SB49S@cc.swarthmore.edu>, abrocke1@cc.swarthmore.edu (Aaron Brockett) writes:
>|> 
>|> Speaking of bad Brahms, does any exist? 
>
>IMHO, yes, there is some very bad Brahms. 

Forgive him, for he knows not what he says  :-)

>I am thinking of Variations (or is it Rhapsody?) on a theme by someone, 
>perhaps Paganini, for piano. This is a perfectly dreadful piece, in the 
>same realm as  [stuff deleted for Aaron's safety]
>
>Curiously, I find Brahms' symphonies delightful, as I do much of Beethoven's
>symphonic output. And it's not that I dislike solo piano, for I much enjoy
>the piano music of Chopin, Debussy, et al. Oh well, there's no accounting
>for taste.

I haven't met a piece by Brahms I didn't like.  If, however, you do not
enjoy his variations on a theme by Paganini (he also variated on Haendel
and Haydn), or if you have grown tired of the Hungarian Dances, you should 
try his late piano music: intermezzi, piano pieces, etc.
all opus numbers >110.  I think it is among the most beautiful--oh what
the heck, it is the most beautiful piano music there is.  All are short
pieces, most are very reflective, personal, intimate but lyrical.

His symphonies are great, the 2 piano concertos are great, so is the
double concerto for violin and cello, the concerto for violin.  But 
I think he is at his best in chamber music: violin sonatas, cello sonatas,
clarinet sonatas (also transcribed for viola); trios, quartets, quintets
with or without piano; string sextets, quintet with clarinet, horn trio.
There are beautiful lieder (Jessye Norman has recorded a nice selection),
works for choir, the immense German Requiem (the best requiem there is?
it does not follow the Roman Catholic ritual, hence the name; conspicuously
absent is any divine wrath--no dies irae; makes it more soothing...).

Brahms rules.

IMHO, naturally. De gustibus...

-- 

	Francois Velde

Newsgroups: rec.music.classical
From: librdb@gsusgi2.gsu.edu (Roy D. Berridge)
Subject: Re: Bad Brahms (Was Re: Brahms symphonies question)
Organization: Georgia State University
Date: Thu, 12 Nov 1992 12:49:17 GMT

 I know this will anger a lot of people, but am I the only one who thinks
 that just about all Brahms is bad?  Yes, I've heard almost everything he's
 written, and yes more than once.  I'm not trying to convert anyone, I just
 want to know if there are others who feel the same way.             

 Roy Berridge
Newsgroups: rec.music.classical
From: ca_ac@gsbacd.uchicago.edu
Subject: Re: Looking for voice version of Ave Maria (Bach/Gound)
Organization: 
Date: Sat, 7 Nov 1992 07:28:11 GMT

In article <1dcjknINN663@uniwa.uwa.edu.au>, diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
> Christian Zick (sowhat@gphs.vuw.ac.nz) wrote:
> : In article <16792@umd5.umd.edu>, eyu@hamlet.umd.edu (Ellen Yu) writes:
> : > Hi everyone!
> : > 
> : > One of my favorite violin pieces is the Ave Maria by Bach/Gound.  I've
> : > heard it has a voice version and I'd like to find a recording of it
> : > (if it exists).  Any pointers would be greatly appreciated.
> : > 
> : I have heard a recording in Berlin, last year, broadcasted by the "classic music"
> : station SFB III, and several times. I think, they mentioned the EMI label, but may be somebody else can confirm this. It was sung by the last Castrate (?? no dictionary) of the Vatican State. The recording has been made in the 191?s. The sound quality was amazingly fresh for this early recording. The singer is
> : accompanied by a violin, if I remember correctly. It is the most wonderful performance of this piece I ever have heard. I should add that I don't like it.
> 
> The classic performance is John McCormack and Fritz Kreisler, with the
> piano by (I think) Franz Rupp.
> 
                                  
I must agree. The version by McCormack is truly wonderful, and Kreisler plays
beatifully. I have a tape of this which I had recorded from one my father's old
records. I would be interested in knowing if there is a re-release on CD.

I do have a CD version of the Ave Maria. It's on a collection of vocal pieces
released on the Philips budget label "A Touch of Classics" called "On Wings
of Song". The disc is a potpourri of various vocal pieces sung by "star"
artists including Te Kanawa, J.Norman, D.Fischer-Dieskau which are compiled
from various Philips discs. The Ave Maria (accompanied here by orchestra) is
sung by Jose Carreras. It's adequate, I suppose, but is really not even a patch
on the McCormack.

Incidentally, both McCormack and Carreras sing the piece in the key of G. The
original by Gounod "Meditation on Bach's Prelude in C"  for violin and piano is 
of course in the key of C.
							Alak Chakravorty
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Bernard Shaw quotes 
Organization: Camex Inc., Boston MA
Date: Fri, 13 Nov 1992 09:59:40 EST

In article <12NOV199213190783@portal.lasc.lockheed.com>
le01167@portal.lasc.lockheed.com (Ron Nadel) writes:

>GBS also had a couple gems re: Wagner. [quotes a few]
>There must be many other memorable quotes about music, composers, etc.
>I'd like to hear others.

I'm halfway through "The Perfect Wagnerite," one of GB Shaw's gifts to
mankind.  Here are a few moments I found amusing from the first chapter,
entitled "Preliminary Encouragements":

"Unless the spectator recognizes in [The Ring] an image of the life he is
himself fighting his way through, it must needs appear to him a monstrous
development of the Christmas pantomimes, spun out here and there into
intolerable lengths of dull conversation by the principal baritone."

and

"It is generally understood, however, that there is an innner ring of
superior persons to whom the whole work has a most urgent and searching
philosophic and social significance.  I profess to be such a superior
person; and I write this pamphlet for the assistance of those who wish to
be introduced to the work on equal terms with that inner circle of adepts."

Shaw's tongue was in his cheek, but I'm not sure how far.

Chris Ischay
chrisi@camex.com
Newsgroups: rec.music.classical
From: timothy@oahu.cs.ucla.edu (Timothy Plattner)
Subject: Re: KDFC - a question.
Organization: UCLA, Computer Science Department
Distribution: usa
Date: Fri, 6 Nov 92 19:08:43 GMT


What I can't stand about the programming of the two classical stations in
the Bay Area,  is that both refuse to play anything but baroque music during
rush hour traffic.  I don't hate baroque,  but it becomes awfully annoying
to hear it for 45 straight minutes going to and coming from work.  My only 
outlet is the one march that kkhi plays at 8,  and I'm really not a fan of
marches.  Personally, during these times I switched to KSJO and KOME, rock
stations.

-tim
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: The Planets
Date: 6 Nov 92 01:34:47 GMT
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Has no-one heard the version conducted by Holst himself?
Newsgroups: rec.music.classical
From: coren@speed.osf.org (Robert Coren)
Subject: Re: Bernard Shaw quotes
Organization: Open Software Foundation
Date: Fri, 13 Nov 1992 22:33:33 GMT

In article <1992Nov13.095940.2469@lloyd.Camex.COM>, chrisi@lloyd.Camex.COM (Chris Ischay) writes:
> 
> Shaw's tongue was in his cheek, but I'm not sure how far.

This line belongs on Shaw's gravestone.
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Re: Salome
Date: 7 Nov 92 23:11:27 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

In article 38704@yuma.ACNS.ColoState.EDU, hurben@lamar.ColoState.EDU (Mike Hurben) writes:
> I guess that the one thing I really don't get is,
> what is the POINT of this thing?  I am used to Wagner and hence, looking for
> some kind of 'interpretation' for everything that I listen to...It seems to me
> that this is just a story, and I should just enjoy it as such.  Does anyone
> have any thoughts about this?

Salome (and Elektra) were both written basically as shockers, which they
most certainly were for the audiences of the day. Both Wilde and Strauss
were fascinated by the unbridled power of the character of Salome, and
the music captures that. I don't think it pays to look for more depth than
that.

Incidentally, there is no recording to surpass the Nilsson/Solti Vienna
recording of 1961, either in interpretation or in sound. Hear it once,
and you'll forget Studer and Sinopoli forever.

------------------------------------------------------------------------
					Tony Movshon

Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
					Center for Neural Science
					New York University
Phone:	   (212) 998-7880		4 Washington Place, room 809
Fax:	   (212) 995-4183		New York, NY 10003
------------------------------------------------------------------------
Newsgroups: rec.music.classical