HDTenEightyP/NetNews huggingface dataset:
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Lost Masterpieces was Re: Dresden was Re: One-work-composers
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Sat, 19 Dec 1992 16:33:47 GMT

In article <1992Dec19.063407.25773@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>
>>Sophocles' music for his tragedies (if I remember right, he was more
>>valued in his day for the music than the words).
>
>Did he write it down??

A friend of mine has a CD of "reconstructions" of Sophocles' music from the
tragedies, but I've a) never heard it, and b) don't know what the scholarship
is behid it.  For all I know it could be a CD of what someone thinks it should
have sounded like.

As for lost works, what *I* want are the 100 missing Bach cantatas, the 
two missing Passions, etc.  But then again, I'd also like the contents of
the Library of Alexandria.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.music.classical
From: coren@speed.osf.org (Robert Coren)
Subject: Re: Various _Goetterdaemmerung_s 
Keywords: Janowski, Karajan, Solti
Organization: Open Software Foundation
Date: Tue, 15 Dec 1992 21:48:21 GMT

In article <BzB3xo.D9t@news.udel.edu>, conrad@brahms.udel.edu (Jon Conrad) writes:
> A running joke reminiscent of an old "Laugh-In" gag (and when was the
> last Ring production that could claim that kind of lineage?).  Wotan had
> red hair and so did all his children.  It was the sign of divine
> descent; Sieglinde revealed herself to Siemund by pulling off her hood,
> and Siegfried was instantly recognizable when we first saw him.  (I can
> picture Richard Coren shaking his wattles and harrumphing as he reads
> all this.  :-)  )

Harrumph, indeed! Although I'm not sure what mythical red-haired
relative of mine this might refer to.
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: organized music
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Mon, 14 Dec 1992 06:00:56 GMT

In article <kre-131292235120@b61693.student.cwru.edu> kre@po.CWRU.edu (Keith R.W. Elflein) writes:
>I am a music performance major here at CIM/CWRU. actually, i am a double
>major with chemical engineering being my second major. I just want to say
>that i am sick and tired of the way that organized music (symphonic) is run
>in the United States. I am fed up with all the lack of jobs, the poor
>wages, the shitty benefits, and especially THE ATTITUDES. Look people, if
>you are going to be in music, be in it for the right reason. Music is not a
>power struggle, it is expression. 

Of what?

>I only want to play, not to conquor. I
>was going to go to Eastman, but i decided against it due to the above
>conditions. The perfect job for me would be to play professionally, but,
>let's face it, it's just not practical,that's why i chose double-major, and
>i truely feel sorry for all the poor souls who are in music alone and will
>have no job, or a shitty one at best.THOSE OF YOU WITH ATTITUDES, and you
>know who you are, GET A REAL LIFE! your attitudes make you all the worst
>bunch of musicians to walk the planet. I hope you all end up working for
>K-mart.

Now, aside from noting that this, too, sounds a wee bit like an
attitude, might I ask what the problem is with people doing their own
thing?  Seems to me you're upset at everyone who doesn't do music
for the same reason you do.  Or, if you will, does music for the 
reasons you don't.  

Now, if it's just not practical, why get all angry at those for whom 
it either is practical, or who are willing to risk it?  

Anyway, better to work at K-Mart than to play sax on the street out front of
K-Mart.  Or is it?

Roger

Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: Re: Good music for brass quintet
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Mon, 14 Dec 1992 16:22:31 GMT

In article <1992Dec10.220536.7661@fid.morgan.com> apter@fid.morgan.com (Steve Apter) writes:
>
>
>On Hyperion:  A collection of works for band by Robert Simpson,
>  including "Energy".
>


There is another fairly new CD, also in Hyperion I believe, called
_From the Steeples and the Mountains_, which includes the Ives piece
by that name, along with a bunch of other quite substantial American
pieces for brass, some with organ and/or percussion. The Harris _Chorale_
is probably the prize of the collection.


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Review: Janacek string quartets
Organization: School of Computer Science, Carnegie Mellon
Date: Wed, 16 Dec 1992 05:43:35 GMT

In article <1992Dec15.195016.1072@fid.morgan.com> apter@fid.morgan.com (Steve Apter) writes:
>Do yourself a BIG favor.  Get hold of an alternative performance of
>these pieces.  I'd recommend either the Hagen on DG, who emphasize their
>expressionist content, or the Travnicek on Opus, who simply outplay
>all competition.  Other performances on CD I'd recommend are the
>Talich (a bit wiry), the Stamitz (glorious tone), and the Lindsay
>(ferocious).  Or wait for the Emerson to set their definitive stamp
>on these remarkable works.

I'd like to get more performances.  I'm curious about the Talich, but the
Hagen and Stamitz just don't work for me.  I like the Smetena, too.  (I
think they recorded it twice?)

-chris
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's Symphonies
Date: 20 Dec 92 00:07:12 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]

Being you're on a student's budget, don't buy a boxed set, but acquire each
one at a time, and spend a lot of time listening to each.  There's plenty
of music to digest here, and no one conductor does a great job with all
9.  Find the best recording for each.  (Oh-oh, I think I just inadvertently
created nine new threads for this group!)


John
zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: dbrus.Unify.Com.ceb@unify.uucp (Caroline E. Bryan)
Newsgroups: rec.music.classical
Subject: Requia, pass 2
Date: 14 Dec 92 21:32:48 GMT
Reply-To: dbrus.Unify.Com.ceb@unify.uucp (Caroline E. Bryan)
Organization: Unify Corporation, Sacramento, CA, USA

Someone asked which recording of Mozart's Requiem I have, so I thought I'd
bring all the CD's in and just list them.  Also I repeat my question of
other requiems that netters have enjoyed!

Requia I have listened to and loved:

Berlioz Requiem, op. 5, Robt. Shaw, Atlanta Symphony Orchestra & Chorus,
			Telarc CD-80109
Brahms Ein Deutsches Requiem, op. 45, Andre Previn, Royal Philharmonic Orch-
					estra, Ambrosian Singers, MHS 512318T
Faure Requiem, op. 48, Robt. Shaw, Atlanta etc., Telarc CD-80135
Durufle Requiem, op. 9, Robt. Shaw, Atlanta, etc., Telarc CD-80135
Gilles Requiem (on MHS vinyl back home)
Lassus Requiem a 5, Ensemble Pro Cantione, BMG 77066-2-RG
Mozart Requiem, k. 626 (completed by Suessmayr), Peter Schreier, Dresden
			State Orchester, Leipzig Radio Choris, Philips 
			411 420-2 6514 320
Verdi Messa da Requiem, Bernstein, London Symphony Orchestra & Chorus, CBS
			M2K 77231
Victoria Requiem, Peter Phillips, The Tallis Scholars, Gimell CDGIM 012

So, whose requiem am I committing a criminal act of being ignorant of?


Carrie		ceb@rechenau.unify.com	x6244     ---------------------------+
| Lord, help me to meet this self-imposed and totally unnecessary challenge. |
|						-- Anonymous		     |
+----------------------------------------------------------------------------+
From: ST801578@brownvm.brown.edu ()
Newsgroups: rec.music.classical
Subject: ?:Dvorak's use of PENTATONIC scale?
Date: Mon, 14 Dec 1992 16:10:39 EST
Organization: Brown University - Providence, Rhode Island  USA
NNTP-Posting-Host: brownvm.brown.edu
News-Software: BNN via BNN_POST v1.0 beta

I was just listening to Dvorak's "American" String Quartet.  I noticed that
among this and several other of his works, Dvorak loves to throw in melodies
based on the pentatonic scale.  I don't know too much about Dvorak and was
wondering if the pentatonic scale was a scale he used a lot.  Where did
 he get his obsession with this scale if it is used a lot?  Correct me
if I'm wrong, this scale gives music a oriental like quality.  Hmm..
that raises another question, is oriental music really pentatonic?  Has
it really been based on that scale?  Thanks in advance for taking the
time to read this and perhaps to fill in the many gaps in my knowledge
about music.

- Calvin
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Ruinous endings
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Sat, 19 Dec 1992 00:29:53 GMT

rwh@visual.com (Rob Holzel) writes:
: Tony Brokenborough writes about Bruckner's Fourth:
: 
: >>The ending is exactly like the rest of the meaningless noise in the score....
: >>BORING !!!!!!!!!
: 
: Deryk Barker replies:
: 
: >Now is this a comment on this particular symphony - which I agree is
: >Bruckner's weakest - or another attempt to run down his genius?
: 
: I've run into a bit of Bruckner-bashing myself lately.  A friend who's
: otherwise very knowledgable about music was looking over my CD collection
: one day, and noticed the number of Bruckner CDs.  He commented about
: how awful he thinks Bruckner is.   Turned out he had never listened to
: anything by Bruckner other than his Fourth and Seventh Symphonies --
: not the Eighth, not the Ninth.  I told him to give them a spin sometime,
: *then* come back with an updated opinion.  

The fourth doesn't surprise me - the seventh does. How can anyone fail
to respond to that *incredible* opening melody?

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Lost Masterpieces was Re: Dresden was Re: One-work-composers
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sat, 19 Dec 1992 06:34:07 GMT

In article <BzGqqC.CLJ@dcs.glasgow.ac.uk> jack@dcs.glasgow.ac.uk (Jack Campin) writes:
>apter@fid.morgan.com (Steve Apter) wrote:
>> New thread:  Presumably great works which were, or might have been, 
>> lost or destroyed.

>Almost everything by Ockeghem.  I don't suppose there's any chance of
>those works still existing undiscovered anywhere: just too old.

What makes you think there were many more?  We have lots of masses,
lots of chansons, a few motets (fewer every year as reattribution 
changes the picture).  The Chigi codex dates from his time or close 
to it, and has a large collection of his masses.  What large number
of pieces do we know existed at one time?

>Sophocles' music for his tragedies (if I remember right, he was more
>valued in his day for the music than the words).

Did he write it down??

Roger
From: richardw@hub.parallan.com (Richard Walter)
Newsgroups: rec.music.classical
Subject: Re: One-work Composers
Date: Mon, 14 Dec 92 13:32:15 PST
Organization: Parallan Computer, Mountain View CA

How about:

Chabrier: Espana
Alfin: Swedish Rhapsodie
Clarke: Prince of Denmark March (AKA: Trumpet Voluntary)
Mouret: Rondeau (AKA: Theme to Masterpiece Theater)
Fucik: Entrance of the Gladiators (AKA: The Circus Theme)

and the great-grandaddy of One-hit-wonders.....

Pachelbel's Canon in D

PS: Sorry if some of these were mentioned previously, but i've only
recently started reading...

-Sincerely,
Richard Walter
richardw@parallan.com
Newsgroups: rec.music.classical
From: pdorman@itsmail1.hamilton.edu (Peter Dorman)
Subject: Re: Virgin Classics, R.I.P. (was: Re: Britten: A Midsummer Night's...)
Organization: Hamilton College - Clinton, NY
Date: Tue, 15 Dec 1992 19:36:05 GMT

Does the demise of Virgin Classics mean the end of the Kuijken 
series of Haydn symphonies?  If so, a major loss.

Peter Dorman
Hamilton College
Clinton, NY 13323
pdorman@hamilton.edu

Newsgroups: rec.music.classical
From: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Subject: Re: Marriage of Figaro
Reply-To: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Organization: Columbia University
Date: Mon, 14 Dec 1992 15:30:01 GMT


In article <Bz1y5F.ML8@brunel.ac.uk> David.Martland@brunel.ac.uk
(David Martland) writes:
>
>To add to the discussion on Figaro's, I particularly like the following:
>
>Solti`s - brilliant recording - perhaps slightly overblown, but
>superb performance.
>Giulini's - I find this is just beautiful, and I think the
>recording's OK.
>I also like the performance by Arnold Ostman on Oiseau Lyre and the
>Drottningholm >Orchestra on period instruments.
>[ . . . . . .]
>The Penguin record guide gives a commendation to an older version by
>Gui, with the Glyndebourne Festival Orchestra etc. 
[ . . . . . ]
>
>I liked the Kleiber which was also mentioned by other readers, but I
>still prefer Giulini's version.  However, I only heard Kleiber's on
>tape - it may be better on CD!
>
>Are there any other versions that others particularly like?

Besides the brilliant old RCA version with Cesare Siepi (the old
one we all had when we were growing up, with Peters and Elias
and Giorgio Tozzi), I always loved the very stylish version
conducted by Josef Krips with the Dresden Opera forces.  It had
a terrific cast (Berry as Figaro, Gueden as the Countess, Hermann
Prey (!!) as the Count, Edith Mathis as Cherubino and Anneliese
Rothenberger as Susanna).  

The problem is that it is in German.  All its vigour and splendid
singing and charming work all around may be washed up for some by this
fact.  Personally, I found it wonderful and despite owning five other
versions at least, it's the one I listen to.

Nadine
Newsgroups: rec.music.classical
From: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Subject: Re: Best one-work-composer
Reply-To: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Organization: Columbia University
Date: Fri, 11 Dec 1992 20:46:28 GMT


In article <1992Dec11.174841.8936@fid.morgan.com> apter@fid.morgan.com
(Steve Apter) writes:

>In article <Bz3s3K.MKy@unix.amherst.edu> mbfeld@unix.amherst.edu (A
waste of bandwidth originating) writes:

>>: But that reminded me of Falla, "Nights in the Gardens of Spain"
>>: but then they play "El Amor Brujo" from time to time.
>>
>>And the Three-Cornered Hat suite.
>
>The harpsichord concerto is a perfect work of art.  There are
>several good recordings of this piece.  My favorite is the one
>on Philips, with Rafael Puyana and Charles Mackerras.


YES! An exquisite, cristalline piece of music!  Amazing that it
is not more well-known.  And the Puyana recording on PHilips
is one of the loveliest recordings of anything I know.

Nadine
Newsgroups: rec.music.classical,alt.conspiracy
From: hallam@zeus02.desy.de (Phill Hallam-Baker)
Subject: Re: Wagner and Jews?
Reply-To: Hallam@zeus02.desy.de
Organization: Deutsches Elektronen Synchrotron, Experiment ZEUS bei HERA
Date: Mon, 14 Dec 1992 01:56:43 GMT

In article <1992Dec9.035130.17703@Princeton.EDU>, roger@crux.Princeton.EDU
(Roger Lustig) writes:

|>In article <1992Dec9.012721.4208@cs.ucla.edu> pierce@lanai.cs.ucla.edu (Brad
|>Pierce) writes:
|>>In article <Byyp19.1Kz@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad)
|>writes:
|>>
|>>>He *may* have thought he was
|>>>promoting anti-Semitic or otherwise dreadful ideas into his dramatic
|>>>works ("may," I say; the question remains open for me).  That does not
|>>>mean that he actually *did* do it. 
|>
|>>Because you know a great deal more than I about music, I will accept
|>>that Wagnerian operas are innocent art that can be decoupled from the
|>>composer's odious view of Jews. (I do still find it troubling that the
|>>music-"consuming" public isn't made more aware of these views.)
|>
|>Well, they're *not* "innocent  art," either.  Wagner made quite sure that 
|>the works *did* have relevance to his ideas about Germany,  about
|>philosophy, and so on.  One can easily relate these things.  But it is 
|>*not* easy to find anti-Semitism in the operas, and many people have 
|>looked.  (Some find it in Parsifal, others don't.)
|>
|>>I hope I didn't insult anyone (besides Wagner).
|>
|>>p.s.
|>>
|>>Is it true that the Nazis thought that Wagner's work *does* promote
|>>their dreadful ideas?
|>
|>Up to a point.  After 1942, Siegfried and Goetterdaemmerung
|>were found to predict The End too strngly, and were not performed at 
|>Bayreuth.  (Of course, it took real idiots to identify 
|>with Wagner's Old regime of gods in the first 
|>place, but nobody ever accused  the Nazis of intellectual
|>subtlety...)

Nope, not with the Gods, with Siegfried, pure ayrian hero and all that claptrap.
And >he< came to a very sticky end indeed.

It seems to me that Wagner's anti-Semitism was certainly no worse than the
attitude of the likes of Kahane. Only Wagner had the excuse of living in a
rather more bigotted age and the redeeming feature of being able to write some
of the most sublime music ever written.


--

Phill Hallam-Baker
Newsgroups: rec.music.classical
From: strong@tc.fluke.COM (Norm Strong)
Subject: Re: Brahms Symphonies
Organization: John Fluke Mfg. Co., Inc., Everett, WA
Date: Thu, 17 Dec 1992 17:03:33 GMT

}: In article <chomicki.724092970@antares.cis.ksu.edu.cis.ksu.edu> chomicki@cis.ksu.edu (Jan Chomicki) writes:
}: >I'd like to solicit opinions about the best performances of Brahms
}: >Symphonies, both individual symphonies and complete cycles. In particular,
}: >is the critically acclaimed (according to Stevenson's) cycle by
}: >Wand worth obtaining? Thank you.

Wand is pretty good, but his orchestra isn't all that impressive.

For the 4th Sym, I recommend Abbado and the Berlin Phil, a brand new CD
that also contains the Haydn Variations, AND the choral work Naenie, a
total of 74 minutes of music. 

Bernstein and the Vienna are also good, but the quality of the recording
is not as good as the Abbado.  
-- 

Norm Strong  (strong@tc.fluke.com)
2528 31st S.   Seattle WA 98144   USA
From: beh@kropotkin.gnu.ai.mit.edu (various Howellses)
Newsgroups: rec.music.classical
Subject: Re: Music Schools
Date: 12 Dec 92 22:30:41
Organization: Internet access via the Free Software Foundation
	<BEH.92Dec10203817@kropotkin.gnu.ai.mit.edu>
	<1992Dec11.093702.1916@lloyd.Camex.COM>
NNTP-Posting-Host: kropotkin.gnu.ai.mit.edu
In-reply-to: chrisi@lloyd.Camex.COM's message of Fri, 11 Dec 1992 09:37:02 EST


Well, as I said, I haven't *heard* any.  I look forward to hearing her
soon.  Since I'll be hearing the Met auditions out here, I'm sure I'll hear
her.

--N
--
If it's me, it's not the other one.  If it's the other one, it's not me.
But then again, we're basically one and the same... oh bother, we're
--Various Howellses (Bruce and/or Nancy)
beh@gnu.ai.mit.edu
Newsgroups: rec.music.classical
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Subject: Score-reading - urban myth? 
Keywords: scores, orchestra
Organization: University of Virginia
Date: Fri, 18 Dec 1992 01:13:45 GMT

In article <1992Dec17.112406.7768@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>In article <BzA0ts.GIx@news.cso.uiuc.edu> al21146@uxa.cso.uiuc.edu (Richard
>Feynman Albert LiFeynman ) writes:
>Toscanini had another uncanny ability with respect to scores, in that his
>memory was phenomenally good and I believe he literally never conducted
>with a score before him.  Memorizing something like Meistersinger to the
>point where you can detect players' individual missed notes in rehearsal
>seems like something that belongs in Guiness.

I heard a story about one of these conductors with a photographic memory
(though I forget who - Tocanini or Mengelberg?) who was approached at the
last minute before a concert by the bassoonist, one key of whose instru-
ment was broken, so that he couldn't play a low G#.  The conductor thought
for a second, then said "That's okay, you don't have to play that note
tonight."  =-)

Probably an urban myth (you'd think the bassoonist would also know which
notes he had to play), but kind of amusing.

-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: Reply to Greatest Living Pianist
Date: 15 Dec 92 18:09:10 GMT
Organization: DSC Communications Corp, Plano, TX

In article <DG.92Dec14145935@dgupta.hpl.hp.com> dg@dgupta.hpl.hp.com (Dipankar Gupta) writes:
>
>Seeing the following:
>   : 
>   : Top tier: *Sviatoslav Richter, Emil Gilels, Rudolf Serkin, Artur
>   : Rubinstein, Walter Gieseking, Dinu Lipatti, Wilhemn Kempff, 
>
>reminds me of a note in a Rachmaninov Concerti flyer, which claimed
>that Rubinstein was forced to cancel his performance of the fiendish
>3rd after Gieseking gave a brilliant rendition of the same.
>
>I was wondering if this performance is available. 
>
>-- Dipankar

Rubinstein was and remains my personal greatest pianist, though his
playing, especially on recordings, varied all over the place.  He
definitely had technical limitations, though he got much much better
during the fifties and sixties.  He had the wonderful ability to 
fake his way over his shortcomings so that the total effect was not
harmed by them.  But there were some things he couldn't fake.  It
is interesting that he never recorded the Rachmaninoff third.  He
also refused to record the Chopin Etudes, though I heard him on 
several occasions give stupendous performances of some of the most
difficult of them -- such as the Op 10 #4 in C# minor.

One place where Rubinstein remains unsurpassed in my mind is his
mastery of tone and volume over the range of a whole piece or over
a single phrase.  I remember listening to his '60s recording of the
Appasionata with a piano major friend.  As we listened he was not
particularly impressed and pointed out many points of sloppiness
of both phrasing and execution. It wasn't one of his greatest
performances.  But then there came a passage in the last movement,
leading up to the last go-around where the right hand just plays
C7 chords up and down the range of octaves.  As simple as it is
to play, my friend was astounded at the absolute pianismo evenness
of the way he played it, and its perfect movement into the last
dum-de-dum into the F-minor theme.  We listened to several other
recordings by most of the great pianists of the time, and no one
came even close.

I also remember a review of back to back performances of Debussy,
first by Gieseking and then by Rubinstein.  The critic marvelled
something to the effect, "Gieseking's gold fish sparkle and shimmer,
but Rubinstein's actually swim around".


Gerry Palo (73237.2006@compuserve.com)
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Marriage of Figaro
Organization: University of Delaware
Date: Mon, 14 Dec 1992 16:38:32 GMT

In article <1992Dec14.153001.19177@news.columbia.edu> nsh3@cunixf.cc.columbia.edu (Nadine S Harris) writes:

>...I always loved the very stylish version
>conducted by Josef Krips with the Dresden Opera forces.  

Me too, but the conductor was Otmar Suitner.

Jon Alan Conrad
Newsgroups: rec.music.classical