HDTenEightyP/NetNews huggingface dataset:
From: al@sys6626.bison.mb.ca (haus der luge)
Newsgroups: rec.music.classical
Subject: A Brief Review
Date: 27 Sep 92 18:06:50 GMT
Organization: system 6626 BBS, Winnipeg MB


 
I borrowed a copy of RCA Victor's recording of Kazuhito Yamashita's 
performance of Stravinsky's Firebird Suite on solo guitar (!?!).
 
This is an utter piece of garbage.  That he takes credit for arranging 
this transcription should shame him forever.  Yamashita's attempts to 
approximate an entire orchestra by simply playing his instrument as loud 
and obnoxiously as possible must be some sort of inside joke.  I've 
always enjoyed hearing guitar players play pieces that are not Spanish in 
origin (do we really NEED yet another collection of Fernando Sor's pieces 
- no disrespect intended, but many of the major players in the classical 
guitar field seem to limit themselves so much that it becomes totally 
tiresome) but if this is the result of Yamashita's sad attempt to try 
otherwise, I suggest he release a "Greatest Hits of Sor" Cd.
 
Actually, I'd prefer that he put down his guitar and never touch it 
again.
 
Beware of this disc.  It's not even useful as a book end or shotgun 
target.
 
HausDerLuge
 

--- (haus der luge) a user of sys6626, running waffle 1.64
E-mail: al@sys6626.bison.mb.ca
system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
Xref: sparky rec.music.classical:13868 rec.audio:13381
From: jacob@max.cc.brandeis.edu ( )
Newsgroups: rec.music.classical,rec.audio
Subject: Re: Why switch to CD?
Date: 6 Oct 92 06:48:03 GMT
Followup-To: rec.audio
Organization: Brandeis University Math Department

just a piece of trivia: some mentioned the advantage the CD has over
a the LP in term of durability. well, i read a few years ago
in the boston phoenix quarterly (?) electronics supplement there existed
a "laser turntable" that reads (only black) vinyl LPs with a laser beam.
of course you can still melt your LPs in the oven if you wish but you can
do pretty nasty things to you CDs also if you want. the point is a "laser
turntable" doesn't put an LP to more wear than a CD player does a CD.
also given that the "laser turntable" reads the depth of the groove optically,
conceivably one could imagine a coating process whereby you could have your
LPs layered with a transparent layer of something that would forever render
them immune to dust as well. the only problem is, according to the boston
phoenix, the laser turntable exists, its r&d is completed but it is not
in production.
Newsgroups: rec.music.classical
From: jpl@lyra.Stanford.EDU (Jonathan Lavigne)
Subject: Re: "Hommage a Thelonious Monk" by Casterede - HELP!
Organization: DSO, Stanford University
Date: 30 Sep 92 16:35:37 GMT

jpaxton@andy.bgsu.edu (joshua paxton) writes:

>I found the score to a piano peice called "Hommage a Thelonious Monk" by
>Jaques Casterede, and I'm trying to find a recording of it.  None of the
Josh,
I can't tell you where to buy the disk, but here's a bibliographic citation
for it from RLIN (the Research Libraries Information Network). Looks like
it's distributed in the U.S. by a company in Portland, Oregon.

Cast'er`ede, Jacques, 1926-
  [Piano music. Selections]
  Oeuvres pour 1 et 2 pianos [sound recording] / Jacques
Cast'er`ede. -- Lyon,
 France : REM ; [Portland, Ore. : Distributed by] Allegro Imports, [1989]
  1 sound disc (59 min.) : digital, stereo. ; 4 3/4 in.

  1st and 2nd works for solo piano; 3rd work for 2 pianos.
  Herv'e Billaut (1st-2nd works), Genevi`eve Ibanez, Jacques Cast'er`ede (3rd
 work), piano.
  Recorded Feb. 1989.
  Eds. recorded: Leduc (1st work), Rideau Rouge (2nd work), Salabert (3rd work)
  Distributor from label on container.
  Compact disc.
  Program notes in French and English (15 p. : ports.) inserted in container.
  Contents: Hommage a Thelonious Monk (12:11) -- Sonate pour piano (17:24) --
 Feux crois'es (28:30)
  REM : 311092.

  1. Sonatas (Piano) 2. Piano music. 3. Piano music (Pianos (2)) I. Billaut,
 Herv'e. prf II. Bonneton-Ibanez, Genevi`eve. prf III. Cast'er`ede, Jacques,
 1926- Hommage `a Th'elonious Monk. 1989. IV. Cast'er`ede, Jacques, 1926-
 Sonatas, piano. 1989. V. Cast'er`ede, Jacques, 1926- Feux crois'es. 1989. VI.
 Title.
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Tahitian Choir
Date: 30 Sep 92 12:31:05 GMT
Organization: Oxford University VAX 6620

In article <BvC3A4.4D0@brunel.ac.uk>, David.Martland@brunel.ac.uk (David Martland) writes:
> I heard a most amazing choral piece the other day on BBC's programme 
> "Pick of the Week." It featured
> a Tahitian Choir from an island/village called Rato. There is a CD available 
> called, I believe, "Tahitian Choir."
> 
Talking of non-Western choral music, does anyone else remember the incredible
singing of the Western Samoan Rugby team at last year's World Cup? It was
almost perfectly in tune, perfectly together and harmonically quite complex.
Magical stuff---especially when compared with "Swing low" from the crowds....

-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
Newsgroups: rec.music.classical
From: rbrooks1@cc.swarthmore.edu (Rob Brooks)
Subject: Re: Berceuse?
Organization: Swarthmore College
Date: Mon, 28 Sep 1992 01:06:28 GMT

In article <717640113.1226.0@romulus.mercury.andrew.cmu.edu>, Ken Zuroski
<kz08+@andrew.cmu.edu> writes:
> 
> 
> Hi:
> 
> While listening to the radio, I heard a haunting melody that I liked. The
> commentator said it was an electronic version of Stravinsky's Berceuse.
> I thought: great, I'll buy a copy of the classical version. 
> 
> What's the deal? I can find Chopin's Berceuse listed in my online CD
> database, but not Stravinsky's. It must be part of a larger work?  
> 
> Thanks for any info--
> 
> Ken

Perhaps it was the Berceuse from the Firebird (suite or full version).  Not
quite what I'd call haunting but beautiful nonetheless.  If you're looking
for a recording of the suite I'd recommend the Muti/Philadelphia
performance on EMI.  Full of power and finesse.

Rob


Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Mahler 9 (was Re:Mahler 1)
Organization: Camosun College, Victoria B.C, Canada
Date: Fri, 2 Oct 1992 20:51:33 GMT

In article <459QBRRW@cc.swarthmore.edu> rbrooks1@cc.swarthmore.edu (Rob Brooks) writes:
>In article <1992Oct2.022221.5496@cucs5.cs.cuhk.hk>,
>bmtong@cucs11.cs.cuhk.hk (Tong Bo-Ming) writes:
>
>stuff deleted...
>
>> 	I would also like to hear about all the favourite recordings of
>> Mahler's 9th and Song of the Earth.  Any suggestions ?
>>
>I recently bought Barbirolli's version of the ninth and it is quite good
>(the finale is magical).  The best I've heard is without a doubt
>Haitink/Concertge-
>bow from his 70's cycle and Karajan's is well worth looking into.  As far
>as "Das Liede" goes the performance on EMI with Klemperer/Ludwig/Wunderlich
>has this kind of effect on you: A while ago my dad was driving home when
>this recording came on the radio and he stopped by the side of the road to
>hear the whole thing.  It's awesome.

Firstly you might want to read my survey (although it's a couple of
years old now) of a number of recordings of all the Mahler symphonies
and Das Lied. It's available for anonymous ftp at 
	camins.camosun.bc.ca
as mahler.txt under the misc directory.

As to the 9th: you should not be without Bruno Walter's VPO recording
from January 1938, the first ever recording. Barbirolli and Haitink
and many others a very good, however the version which competely blows
me away is a live 1966 recording on Music and Arts, the LSO under
Horenstein. I was present at the prom where this was given and my
memory, for once, did not play me false; it is a staggering
performance. The recording is variable and some of the playing (well,
this is *really* live, as opposed to Karajan's which had later 'fill
in' sessions) is a trifle shaky, and there are audible coughs during
the coda, but this is indisputibly the greatest performance I have
ever heard.

Das Lied: once again you should hear at least one of the classic
Walter performances: the 1936 with two singers whose names escape me,
again live and again the first ever recording; of course the classic
1951 Patzak/Ferrier recording. But once again, for me, Horenstein
blows the competition away with his BBC Northern SO performance (April
1972) with John Mitchinson and Alfreda Hodgson. This was available on
an Ittalian label descant, and the Berkshire Record Outlet in MA had
copies. I believe Descant is now defunct but this performance is
shortly to reappear on Music and Arts. The Fanfare critic reviwing the
Descant release, Jack Diether - noted Mahler scholar - and yours truly
all agree that this is the greatest performance any of us have ever
heard. Essential.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: Glenn Gould compositions
Date: 30 Sep 92 16:08:18 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

> hanly@brandonu.ca writes:
>
> Last evening the CBC broadcast several compositions by Glenn
> Gould including: a string quartet (opus 1); a sonata for bassoon and
> piano; and two groups of short piano pieces.
>


Most of these pieces are on a CD called Glenn Gould: The Composer (Sony SK
47184) which was just released. This is the third time Gould's String Quartet
has been recorded, the previous issues were on a Columbia LP and a CBC
transcription disk. The piano pieces which date from the early 50's sound very
Schoenbergian, as does the Sonata for Bassoon.

I'm starting to believe that if there's something you really want to tape off
the CBC, then the CBC will screw up. The Idea of North, Gould's documentary,
was minus about 2-1/2 minutes, 10 minutes into the program. This Casals
documentary last night was 1-1/4 hours long, not 1 hour as the Radio Guide
suggested. As a result, even though I had set my recorder to go to 8:06, it
went on till 8:15 or so. I managed to cover the break at 8:06 OK, but then
about 5 minutes later for some inexplicable reason, my VCR stopped completely!
And last Sunday during the broadcast of Also Sprach Zarathustra by the
Vancouver Symphony, the recording levels dropped to almost nothing during the
opening climax. What a joke...

Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Das Lied van der Erde ( was Re: Mahler 1)
Organization: University of Delaware
Date: Tue, 6 Oct 1992 22:11:14 GMT

In article <Bvp6o8.Cxy@dcs.glasgow.ac.uk> jack@dcs.glasgow.ac.uk (Jack Campin) writes:

>For Song of the Earth, try the recording by Brigitte Fassbaender and Thomas
>Moser with Cyprien Katsaris playing the piano accompaniment...  yep, you
>read that right.  It's Mahler's own piano version, 

Which is not to say that he expected anyone to PERFORM it that way when
an orchestra was available.....

>and it's surprising how
>little difference it makes that the orchestration isn't there.

And if anyone believes that, I have some nice swampland in Florida I'd
like to sell.

Now, c'mon.  Alternative versions are fun to hear sometimes, and this
one may be worth one listen in one's lifetime.  But the orchestra is
*hugely* missed, in every single measure.  (And Thomas Moser's no aural
treat, while we're at it.)

Jon Alan Conrad
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: The Thread Goes On...
Date: 26 Sep 92 04:59:47 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

Ones I forgot...

Murray Psoriasis
Itzhak Knit-One Pearl-Two
Bela Bar-Talk
Bird-Shit Nilsson
Kiri T. Kana-worms

Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Misuse (was Re: Playability (was Re: Alkan trivia))
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Tue, 29 Sep 1992 02:05:19 GMT


In article <1a6d84INN4ih@uniwa.uwa.edu.au>, diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
|> Satie's gymnopedies misused - how could I forget -
|> 	 -Blood Sweat and Tears version (on same record as WSOP, I believe)
|> 	
Misuse? You think so? I always thought the guitar and flute was a rather
nice rendition. Oh well.

However, a REALLY nauseating misuse is some MUZAK station in either N.Y.
or Boston, which has a transmogrification of a fragment of Debussy's "Girl 
with the Flaxen Hair" played on an electronically processed harp. Yikes! 
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Recording Poulenc
In-reply-to: kos@cunyvms1.gc.cuny.edu's message of Sun, 27 Sep 1992 15:49:13 GMT
Organization: pubs
	<1992Sep27.154913.7641@timessqr.gc.cuny.edu>
Date: 28 Sep 92 15:25:39 CDT

Bob Kosovsky writes:

   A friend of mine is the music editor at Dover ...

   In cases like the music by CPE Bach, Beethoven string quartets,
   Mozart symphonies, the editions they selected are GHASTLY.

Do I assume that these choices were made before your friend arrived?
What does he think about them?  Might they be changed?

Chris Brewster
cb@cray.com
From: music@moravian.edu (Steve Heller)
Newsgroups: rec.music.classical
Subject: Re: music scores cost a fortune!!!
Date: 2 Oct 92 00:34:16 GMT

In <1992Oct1.152510.18506@murdoch.acc.Virginia.EDU> rwd4f@poe.acc.Virginia.EDU (Rob Dobson) writes:
>>>: I was browsing in the sheet music section of a music store looking for
>>>: some Shostakovich scores for my own intrest and was shocked to see the
>>>: prices on the "small" pieces! My mind boggles at what the score for
>>>: the Leningrad symphony or 10th would cost! Outrageous! How can people
>>>: affoard them? :-(
>>Another good place is your local university library......
>>

>Now, THESE are the expensive scores, the collected editions. I work at
>your local university music library, and we dont even let these collected
>editions go out, mainly because they are sooooo expensive. While a regular
>score usually costs in the $10-$50 range, these collected editions usually
>cost $100+ PER VOLUME. As a quick example, volume 15 of the complete
>works of Verdi cost $206.86 (!!!!!!!!!!!!)

I work at your local college music library. Even 5+ years ago we paid
between $90-300 a piece for single, hard bound "octavo" copies of the
Boosey&Hawkes editions of Stravinsky's opera/theater works (I believe
Mavra was $175 and it's not that thick). We have collected editions of
quite a few composers. Not all are outreagous, but most are, and
sadly, not all of them are top-notch printings (one we got recently,
although I can't recall what it was, cost a pretty penny and was just
a poor photocopy of the original 19th century printing between 2 fancy
hard covers). But the price gouging has been going on for a long time
now. I remember being shocked 8-10 years ago when someone brought in a
score, I believe printed by Salabert, that was only 2 pages printed on
one large folded sheet of paper that was so thin you could actually
see through it (it looked like it would disintegrate if you actually
tried to USE it), and that cost around $15. I must say that although I
spent too much money at the time, I'm glad I bought some of my most
prized scores long enough ago to realize I really got some great
bargains (I paid under $5 for the original Durand edition of Ravel's
"Gaspard de la nuit" - although now you can get it in other editions,
I'm sure the Durand would cost you an arm too many!).
-- 
*-------------------------------------------------------------------------*
#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Question for musicologists about Schumann
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sat, 3 Oct 1992 13:57:39 GMT

In article <67098@cup.portal.com> Bill_P_Pearce@cup.portal.com writes:
>   I picked up and have been reading a fascinating book about Schumann
>this week: "Schumann, The Inner Voices of a Musical Genius", by Peter
>Ostwald, sort of a psycoanalytic study of Schumann, and one observation
>in the preface piqued my curiosity.  The author (writing in 1985) mentions
>that in the last ten years a great deal of information about Schumann has
>become available, including diaries and household books for nearly every
>day of his life from age seventeen.  It seems very surprising to me that
>all of such material had not been pored over and examined and published
>in great detail much earlier, given how famous Schumann is and how thorough
>I perceive German scholarship to be (I don't know if I am right, but I
>have always had the impression that German scholars tend to produce huge
>detailed studies of material like that).  Did the diaries and household
>books only come to light in some archive in recent years, or did it make
>any difference that Zwickau, where he was born, was in East Germany?

Scholars have been going to Zwickau for years; I know several who have
done so.  

As far as I can tell, the problem with  the huosehold books was that they
were so numerous; scholars had looked for this or that, but never systematic-
ally worked through. German musical scholarship was *not* always that
thorough, and musicology -- the positivist form as we tend to think of
it -- didn' concern itself much for composers after Beethoven in the time
before WWII. (What they *did* do in 1918-45 is recounted in quite readable
form in Pamela Potter's recent Yale diss.: Trends in German Musicology, 
1918-1945; UMI.)  This is not only true for Germany; it took until about
1978 for there to be a journal called Nineteenth Century Music.  The 
field just wasn't seen as respectable enough, as a place to prove one's
musicological worth.

Now, I don't know what made the books suddenly available.  Perhaps they
were part of the huge Berlin treasure that came to light in the Jagiellonian
Library in Cracow in around 1976.  That included many Mozart and Beethoven
mss. taken from Berlin at the end of WWII.

Roger
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Anyone heard of this piece?
Date: 28 Sep 92 12:16:00 GMT
Organization: Oxford University VAX 6620

In article <1992Sep22.223549.1596@TorreyPinesCA.ncr.com>, lms@TorreyPinesCA.ncr.com (Max Stern 310-524-6152) writes:
> In article <15180@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike
> Quigley) writes:
>>Didn't Ernst Toch write something like this? I think he did a piece called the
>>Geographical Fugue which had excerpts from a road map...
>>
> The Geographical Fugue is a piece for six (if I remember correctly)
> voices, who recite (in German) the names of various geographical
> locations like "der Fluss Mississippi," Brindisi, etc.  It is entirely
> spoken, so the main musical elements are rhythm, counterpoint,
> dynamics, and form.

It's only four voices (presented as SATB), and the version I've heard was in
English. (I have a feeling---but it is only a feeling---that Toch was American,
by naturalisation if not by birth.) The fugue subject is "Trinidad. And the big
Mississippi and the town Honolulu and the lake Titicaca. The Popocateptl is not
in Canada, rather in Mexico Mexico Mexico." It's great fun to do, but is
extremely difficult to keep together, unless you have four very experienced
singers performing it.
-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Guido Cantelli
Organization: Camosun College, Victoria B.C, Canada
Date: Tue, 6 Oct 1992 17:36:39 GMT

In article <2AD158F5.8906@news.service.uci.edu> josh@aris.ss.uci.edu (Josh Stern) writes:
[....]
>Both Cantelli's Brahms 3 and Schumann 4 are outstanding, IMO.
>So the disc is worth searching for.  It was in the catalog until
>fairly recently so you might want to try phoning stores in your
>area which don't do a fast turnover.  Also, many Tower Records
>stores carry large selections of EMI cutouts, with selection 
>varying from one store to another.  
>
>A question for other readers:
>
>There are a number of modern performances of Brahms 3 which are
>grossly similar to the Cantelli in interpretation - Dohnyani and
>Abbado for example.  But are there any which are similar to Cantelli's
>Schumann 4?  Are there any other performances in the catalog which
>are even near in tempo (fast)?

I agree about both performances, which are splendid. I can't help
wondering whether Karajan would have received so much uncritical
adulation had Cantelli lived?

Marriner's Schumann 4 (Capriccio) has some *very* fast tempi indeed.
Not sure how they compare to Cantelli, as I haven't listened to that
in a while. I'll have to dig it out tonight.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: David.Martland@brunel.ac.uk (David Martland)
Newsgroups: rec.music.classical
Subject: Re: Mahler 1
Date: 1 Oct 92 11:40:47 GMT
Organization: Brunel University, Uxbridge, UK
X-Newsreader: Tin 1.1 PL3

I agree with everyone who likes the Kubelik version.
The new Bernstein is very good, but perhaps a bit slow in places.
I also have the earlier Solti version, LSO, which is good, and
the Levine version - is it still available. 
Levine's version is just amazing.

Dave
Newsgroups: rec.music.classical
From: belle@maths.tcd.ie (John O'Brien)
Subject: Beethoven's Song of Joy
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.
Date: Wed, 30 Sep 1992 15:38:40 GMT

Does anyone have the words of this song
(Song of Joy from the end of Beethoven's 9th symphony)
translated into English. I hear they 
are very interesting indeed. 

thanks
 belle
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Hamilton Harty
Date: 4 Oct 1992 14:43:54 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

He did write more: Chandos put out most of his stuff on LPs in the 80's.
The Irish Symphony is based on Irish folk tunes and is quite good
considering. The Children of Lir is excellent as well.
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: Beethoven 32nd sonata
Date: Tue, 29 Sep 92 23:07:53 EDT

In <29SEP199219111643@eccles.caltech.edu> inr@eccles.caltech.edu (I. Neill Reid) writes:

>Why all this fuss over syncopation? It was a standard tool from
>at least Josquin  onward - at the moment we're working on Byrd'sd
>3-part mass, and there are several sections where the tenors play
>off the rythmn established by the basses or altos. 
> There's more to jazz than the syncopation.

The point is not simply syncopation, which I think we all know goes
back much farther than Beethoven, but the very special case of
Beethoven's op.111: Adagietto: 4th variation, which is a remarkable
example. There are many others, obviously, but the thread started with
this piece and has evolved from that point.
-- 
*-------------------------------------------------------------------------*
#   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: johnd@lloyd.Camex.COM (John Duesenberry)
Subject: Re: Karlheinz
Organization: Camex Inc., Boston MA
Date: Wed, 30 Sep 1992 15:25:04 EDT

What are the Stockhausen Edition CD's? Are any of the older works
like Gruppen, Gesang, Kontakte,Kontr-Punkte... being resissued?