HDTenEightyP/NetNews huggingface dataset:
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: Re:    Ruinous endings (was: The BEST Finale)
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Mon, 21 Dec 1992 18:55:20 GMT

In article <1992Dec17.204424.25745@walter.bellcore.com> broken@venison.bae.bellcore.com (Tony Brokenborough) writes:

[stuff deleted]

>
>How about the ending to Bruckner's so-called 'Romantic' symphony.
>
>The ending is exactly like the rest of the meaningless noise in the score....
>BORING !!!!!!!!!`
>


I guess we're just not going to agree on this  :-)

I was going to cite the ending of the Bruckner 4th as among the
greatest. This finale is one of the strongest among a set of
symphonies which are typified by great opening movements and
slow movements, and weak finales.

As for 'meaningless noise', I can only suggest that 'meaning' is
almost completely within the ear of the beholder. If you detect
nothing in Bruckner's symphonies except noise, it's not *my* loss.


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Saxophone, use of -
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 22 Dec 1992 17:36:01 GMT

jwenger@ulci06.unil.ch () writes:
: 
: Dear net.folks,
: 
: Friends and I were chating about music in general, and saxophones in
: particular. No one could mention a piece of classical music, orchestral,
: chamber or other, where one or more sax were used. Can you?
: I'll post the consolidated list of your answers, as soon as I get something
: publishable.
: Thanks in advance, a merry Xmas and happy Newyear to all.

Off the top of the head: Vaughan Williams' 9th Symphony, WIlliam
Walton's Belshazzar's Feast. Isn't there something by Debussy? Or am I
imagining that?

--
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: "bob warren" <bob.warren@canrem.com>
Subject: beginning a classical col
Reply-To: "bob warren" <bob.warren@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 1 Jan 93 14:34:52 EST

JG    Subject: Beginning a classical collection

JGYou're in luck!  There's a book called "Who's Afraid of Classical Music,"
JGby Michael Walsh.  Even though it's a *little* pandering at times, it's
JGa good book over all, and he recommends conductors, performers and recordin
JGHis taste is quite good, IMHO.

      I am presently reading several books by Antony Hopkins which I
    feel are excellent introductions:

     The Concertgoer's Companion   ( 2 volumes,  Bach - Haydn
                                                 Holst - Wagner  )

     Music All Around Me  ( A wonderful anthology of articles, letters
                            biographical excerpts, etc, relating to
                            many facets of composers, performers.
                            Absolutely an excellent read.

                            E.g., Paganini: the Long, Last Journeys
                                - the account of his corpse and its
                                  numerous burials and exhumations

                            Requiem

                         The last days and deaths of
                         Bach, Mozart, Beethoven, Schubert, Schumann

      Also, if you listen to APR, you'll be familiar with Karl Haas
      and his daily program, ` Adventures in Good Music '.

      Haas wrote and had published in 1984,

      Inside Music  How to Understand, Listen To, and Enjoy Good Music

      I haven't started that book yet, but will soon. His program is
      quite educational and interesting, in my opinion.

---
  SLMR 2.1a #1696  milliHelen: unit of beauty required to launch one ship.
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
From: tom@afthree.as.arizona.edu (Thomas J. Trebisky)
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Date: 23 Dec 92 23:35:14 GMT
Organization: University of Arizona, Tucson, AZ

Brahms #2 would be a very strong contender --

  A fine and enjoyable piece of music that has continually grown in
  my esteem.  Strangely, I am not fond of much else by Brahms.
--
	Tom Trebisky	ttrebisky@as.arizona.edu
"Did you know that 500,000 trees are consumed in America each week
to produce our Sunday newspapers.  Never mind recycling, why even
take the paper?"
Newsgroups: rec.music.classical
From: hsong@ardour.bellcore.com (G. Hugh Song)
Subject: Re: Valkyrie recordings
Organization: ...
X-Newsreader: Tin 1.1 PL5
Date: Sun, 27 Dec 92 04:02:41 GMT

conrad@brahms.udel.edu (Jon Conrad) once wrote:
>
>In article <BzFCry.CvM@usenet.ucs.indiana.edu> smitra@bronze.ucs.indiana.edu (Sami Mitra) writes:
>
>>In article <1992Dec17.161834.11532@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>
>>>I've been listening to Act I of Die Walkure incessantly (well, partly
>>>cessantly, but a lot).  I love Jon Vickers Siegmund, which I find more
>>>expressive than James King's and even (dare I say it?) Lauritz Melchior's.
>>>I'd like to put Vickers' brain in Melchior's body, because sometimes I just
>>>don't find him very artistic, though he's so incredibly capable.  I don't
>>>know what the consensus was on Gary Lakes in the Met production, but I
>>>wasn't unbearably moved.
>
>>You may dare say it, and I rush to second you here. Jon Vickers, probably alone 
>>among the latter day Wagnerian tenors, can be placed on the same footing as
>>the great Melchior. 
>
>I agree.  Vickers was an especially fine Siegmund at the time of the
>Leinsdorf recording (he had become just a *little* bottom-heavy by the
>time he recorded it for Karajan).  I especially admire his moments of
>"eloquent simplicity," where without seeming to "do anything" with the
>music he could break your heart.  His explanation of his Wehwalt name
>("Nun weisst du, fragende Frau...") is one example, the Annunciation of
>Death another.  At these moments I have no problem finding him superior
>to Melchior (if we're going to compare-and-contrast on such an exalted
>level).  But I wouldn't want to fault Melchior either, who sang the
>stuff damn near perfectly, and with seemingly endless expressive
>resources in the voice itself.
>
>
>Jon Alan Conrad

May 1992 Gramophone magazine reviewed the Leinsdorf recording on 3CDs.  
The reviewer praised Vickers a lot.  But he did not for Nilsson.  He wrote, 
"even Nilsson doesn't approach the insights and understanding she showed 
for Solti, and B"ohm some 5 or 6 years later.  ....
The recording is over-resonant and not very atmospheric."

In conclusion, the reviewer ("A.B.") did not rave the recording.

I'd like to buy a CD set for Valkyrie.   I found that Jon and others 
omitted a comment about this recording except the comment about Vickers.   
Or I must have missed an article in which you wrote a review on this 
recording.   What is your opinion about Leinsdorf recordin in comparison 
to others such as Solti's?

Thanks.

	Hugh
Newsgroups: rec.music.classical
From: rwilmer@carrier.mitre.org (R. Wilmer)
Subject: Re: Beginning a classical collection
Organization: Mitre Corporation, McLean, VA
Date: Mon, 28 Dec 1992 18:09:56 GMT

>In article <BzzA2u.A7K@nic.umass.edu> urena@titan.ucc.umass.edu (Richard Urena) writes:
 >
 >   >Thanks.  As a side note, I was recently listening to The Planets by 
 >   >Holst.  Strangely enough, as much as I liked "Mars", I thought the 
 >   >remainder of the CD in its entirety was boring.  I am in my early 
 >   >20s, and seem to go for involved peices (I also like hard rock and metal).
 >   >
 >   >Any recommendations for my tastes?


From all that you say, I think that Stravinsky's ``Sacre du Printemps''
or ``Rite of Spring'' would be what you next want to buy.

Richard
From: yedid@CAM.ORG (Gabriel Yedid)
Newsgroups: rec.music.classical
Subject: Favourite Organ Work Survey
Date: 24 Dec 92 06:02:36 GMT
Organization: Champlain Regional College, St-Lambert QC  CANADA


     I notice there are a lot of these "favourite" surveys cropping
up.  Figure I may as well start one of my own.  My question to you all
is:  What is your favourite organ work, that is, if you have one?  Even
among my friends that do enjoy classical, there are still a great many
who think that the organ's sole reason for existing is to satisfy 
ecclesiastical needs.  True, it does this very well (depending on 
which church), but it is a limited and narrow viewpoint, and doesn't 
take into account the large volume of non-religious work out there.  I'm
interested in hearing from you.
>
>
>
Favourite work (also all-time favourite piece):  Bach Passacaglia &
Fugue in C minor, BWV 582
Darkest Work:  Chorale #2 in B minor (Franck)
Most Beautiful Work:  stiff tie between "Le Verbe" from La Nativite
du Seigneur (Messiaen) and the Cantilena movement of Langlais' "Suite
Breve"
Weirdest (electric & electronic organ stuff is also open for discussion
):  Shri Camel (Terry Riley)
>
>
Real:  Gabe Yedid, 59 Dufferin Rd., Hampstead, Que., Canada
Email:  yedid@champlain.cam.org
Phone:  (1)-504-486-2941
Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: Re: Most drawn-out ending (Was: Best endings)
Organization: HAC - Johns Hopkins University, Baltimore
Date: Mon, 21 Dec 1992 22:01:10 GMT

In article <1992Dec21.145652.10525@osf.org> coren@speed.osf.org (Robert Coren) writes:
>> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>> 
>> >I'm gonna get flamed for this, but...
>> 
>> >Beethoven's 5th Symphony.
>> 
>> >Sounds like it's going to wrap up about five different times in the finale.
>
>I've always found the (excessive?) bombast that ends the Beethoven 5th
>to be somewhat humorous, and I'm prepared to believe that Beethoven
>intended it that way. I love it, by the way.

One charitable interpretation for the ending of Beethoven's 5th (applicable
to the 3d as well) is that the worlds he opens with his symphonies are 
so vast that it is hard for him to close the doors. How, indeed, could he
contain such immense oceans of sounds and emotions within a mere hour of
mortal time (like "the vasty fields of France in this cockpit")?

Or, it could be a spoof. 

Speaking of which, Satie has a send-up of these unending endings in one of 
his piano pieces, but I can't remember which.

-- 

	Francois Velde

Newsgroups: rec.music.classical
From: icking@gmd.de (Werner Icking)
Subject: Re: HELP: music quiz
Organization: GMD, Sankt Augustin, Germany
Date: Tue, 22 Dec 1992 11:25:28 GMT

In <1992Dec22.000824.18082@csis.dit.csiro.au> tsui@csis.dit.csiro.au (Kenneth Tsui) writes:
>I need help to answer the following for a music quiz. Some of the questions
>are quite interesting. I'll post the answers when they come out in Feburary.

Let's start with the first ten - otherwise it would be work.

>1. In what opera is there a character Sportin' Life?
    Zauberfloete by Wolfgang Amadeus Goethe

>2. What ballet refers to tennis?
    Schwanenroeschen by Tschaikerewski 

>3. What music critic was equally distingished as cricket writer?
    Yes.

>4. Who wrote a mouvement symphonique entitled `Rugby'?
    JSB ("Rugby" is an alias for Toccata und Fuge in d-moll)
    
>5. What composer was the greatest chess player of his day?
    Bob Karpow (most compositions of him are lost, because he couldn't
    write them down; he only knew how they looked)

>6. In what opera does a man have his brother put to death?
    Messias by Johann Gottfried Haendel (may be Haydn?)

>7. In what opera does a man take his brother's place in Hades so that the
>   brother can marry the girl they both wanted?
    in (nearly) every opera

>8. Who said of whom: `I compose to live; my brother lives to compose'?
    Karl Marx (ich arbeite, um zu leben; mein Bruder lebt, um zu arbeiten.)

>9. Which brothers were simultaneously the heads of the two main conservatories
>   in their country?
    Die Gebrueder Grimm (composed the famous opera "Haendel und Gretel" by
    Engelbert Humperdink)

>10. Which great German composer had a brother who taught the piano in
>    Venezuela?
     Henryk Szeryng (but he isn't a real composer, nor does he teach the
     piano; he plays the violin, is not german(?), and lives somewhere)

sorry, couldn't resist -- happy christmas and all the best for 1993.

Werner
--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
Newsgroups: rec.music.classical
From: duli@boulder.Colorado.EDU (Li Du)
Subject: Re: FAVORITE PIANO CONCERTO
Organization: University of Colorado, Boulder
Date: Mon, 21 Dec 1992 07:53:05 GMT

In article <1992Dec21.061136> xilin@icefloe.dartmouth.edu (Xilin Jia) writes:
>Beethoven: 4th, 5th
>Rachmoninov: 2nd, 3rd
>Prokfiev: 3rd
>Mozart: 20th, 23rd, 27th
>Chopin: 1st
>Tchaikovsky: 1st
>
 Also:	Grieg: Piano Concerto
	Schumann: Piano Concerto (a good performance is important.)
	Chopin: 2nd
	Mozart: 15th, 18th, 21th
	Saint-Saen: 2nd
  And:	Brahms: 2nd (when one is in the right mood.)

---------------------------------
 Li Du | duli@prony.colorado.edu
---------------------------------
From: johnl@yang.earlham.edu (John Fiskio-Lasseter)
Newsgroups: rec.music.classical
Subject: Re: women composers
Date: 19 Dec 92 16:21:02 GMT
Distribution: na
Organization: Earlham College, Richmond, Indiana

In article <BzGFop.52y@news.udel.edu>, graziano@ravel.udel.edu (Lisa Marie Graziano) writes:

> Here are just a few women composers:
> Francesca Caccinni, early 17th C., composer of operas
> Barbara Strozzi, 17th C., composer of contatas and other things

This reminds me:  a couple of months ago NPR had a report on a chamber 
ensemble who had researched and recorded works by several baroque-era 
women composers.  I think the name of the group is Ars Femina, but I'm not 
sure.  Can anyone provide some detail to this (name of the group, name of 
recording, label, etc.?)

Thanks,
-- John
+---------------------------------------------------------------------+
|John Howard Eli Fiskio-Lasseter  |     "Is obair-la\ to\iseachadh"   |
|e-mail: johnl@yang.earlham.edu   |    ("Beginning is a day's work")  |
|        JOHNL@EARLHAM.BITNET     |                --Gaidhlig Proverb |
+---------------------------------------------------------------------+
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: beethoven's piano sonatas
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 21 Dec 92 13:37:23 EST

  >    Subject: Beethoven's Piano Sonatas--Recommendations?

HL>If you can find it the recording of Sviatoslav Richter's live performance
  >at Carnegie Hall in the early 60's (an all-Beethoven program) contains
  >absolutely thrilling performances of a number of pieces, including
  >Sonatas 3 and 12, and the Appassionata.  The recording quality is not
  >first-class but that doesn't seem to be important.

Thanks for mentioning these famous recordings specifically. They came
out on two sets of gatefold sleeve double LPs on Columbia in the US.

I've never seen them reissued. Anyone know why? Does Melodiya own the
rights instead of CBS/Sony? These recordings launched Richter in the
West with great fanfare: from cult figure to Great Pianist.

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: sorin@techunix.technion.ac.il (Goldenberg Sorin)
Subject: Re: rec.music.classical FAQ
Reply-To: sorin@techunix.technion.ac.il (Goldenberg Sorin)
Organization: Technion, Israel Inst. of Technology
Date: Sun, 27 Dec 1992 13:55:36 GMT

Perhaps you"ll note the recent changes, so I"ll know if I may have a reason to
reread it.
Sorin
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Hildegard Behrens vocal collapse?
Organization: Visual
Date: Mon, 21 Dec 92 17:22:49 GMT

A friend told me the following.  I wonder if it's true?

1. Hildegard Behrens has recently suffered a vocal collapse,
   which to the horror of the MET management will prevent her from
   singing Brunnhilde in upcoming "Ring" performances.

2. Eva Marton will not sub for Behrens, since she swore never to
   sing at the MET again when she was passed over for Brunnhilde (in
   favor of Behrens) the first time around.

3. As a singer of last resort, the MET have enrolled Dame Gwenyth
   Jones to sing the role.  This much disconcerted my friend, who
   said Jones is so past her prime that by now he'd thought she
   was dead.
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: How to read orchestral scores?
Keywords: scores, orchestra
Date: 19 Dec 92 05:45:24 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Dec17.112406.7768@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) 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.

Actually, Toscanini had a specific reason for memorizing scores.
He was simply unable to read the score on the stand without his
glasses.  But he didn't want to wear glasses while he conducted
because he thought they would prohibit eye contact with the orchestra.

Cheers,

--Mark

=====
Mark Gresham
dscatl!mgresham@gatech.edu
=====
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Beginning a classical collection
Reply-To: dbrooks@osf.org (David Brooks)
Organization: Open Software Foundation
Date: Sat, 2 Jan 1993 20:08:16 GMT

lungtt@gus.ecn.purdue.edu (Terence T. Lung) writes:
>But if you're in a metropolitan area like DC, every other concert
>seems to run at least $20 a ticket.  Listening to the radio will
>be a more practical way to *sample* a variety of music.

If you're in a metropolitan area, and not even a college town, there are
also municipal and, often, youth orchestras.  They can give quite a
satisfying experience for well under $10.  Maybe the aficionados would
scoff at the standard, but it would be fine for a beginner.

For example, I would happily go to Wellesley (if I'm not playing :-),
Concord, Newton, Marlboro, Cape Cod muni's, and GBYSO, NECYPO and NECYSO
youth (well, that's Boston for you).  Keep an eye on the small print of
local newspapers.

In the case of youth orchestras, you also have a guaranteed appreciative
audience.
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Shine out, fair sun, with all your heat!  Black winter freezes to his seat...
The boneless fish close quaking lies...the stars in icicles arise!
From: yoshi@hpjsdo.kobe.hp.com (Kazuo Yoshizaki)
Date: Mon, 28 Dec 1992 01:24:48 GMT
Subject: Re: Favourite Organ Work Survey
Organization: HP Asia Pasific Product Operations - Kobe, Japan
Newsgroups: rec.music.classical

My favorite organ piece is "Savior of the Heathen, Come" BWV 599.
In my opinion, Supra Chorals are Bach's finest works.

K. Yoshizaki (yoshi@hpjsdo.kobe.hp.com)
Newsgroups: rec.music.classical
From: MICH <MICH@UNB.CA>
Subject: RE: Saxophone, use of -
Organization: The University of New Brunswick
Date: Tue, 22 Dec 1992 13:04:49 GMT

In article <1992Dec22.095212.26084@ulci20.unil.ch> jwenger@ulci06.unil.ch () writes:

>Friends and I were chating about music in general, and saxophones in
>particular. No one could mention a piece of classical music, orchestral,
>chamber or other, where one or more sax were used. Can you?
>I'll post the consolidated list of your answers, as soon as I get something
>publishable.
>Thanks in advance, a merry Xmas and happy Newyear to all.
>.

     Ravel incorporates a saxophone in his orchestration of
 Mussorgsky's Pictures at an Exhibition. There is also a Hindemith
 sonata written in the 1940's that is usually played on E flat
 saxophone although I think it was originally written for French
 horn.




  Jamie Mitchell
  Harriet Irving Library
  University of New Brunswick, Canada
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: 20th Century Choral Work....
Date: 21 Dec 92 16:30:33 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

wilcox@vax.oxford.ac.uk writes:
>Never one to hide my light under a bushel, particularly if it means people
>buying the CDs, Schola Cantorum of Oxford have recently released two discs of
>twentieth-century music on the Proudsound label (distributed by Gamut). And you
>no longer have to take my word for it that they are good. The first (sacred:
>Martin's mass for double choir, motets by Durufle, Stanford, Gorecki and Byron)
>was a critic's choice in the December Gramophone; the second (secular: Vaughan
>Williams, Ravel, Debussy, Ligeti, Dallapicolla) got a very good review in
>Classic CD. And neither are what you'd call the usual English stuff. 

Sounds pretty interesting. But since I have one of our continental
cousins on the net on this subject, I don't suppose that you're aware
of any existing recording of Bryars' "Cadman Requiem", are you? With
the anniversary of the Lockerbie tragegy so near at hand (Gavin's friend
Cadman was on that flight), I was reminded again of the urge to hear
Bryars trying his hand at vocal writing (the original performance was by
the Hilliard Ensemble, I believe).

Curiously,
Gregory
--
The law moves quickly in the rain/and chokes the world with memorials./The
courts accept the lowest superstition/into evidence. And we embrace quickly in
the rain,/conceiving a hale infant with hands to wrinkle/the bedsheets toward
it, wave by trough by wave./Gregory Taylor/Heurikon /Madison, WI/608-828-3385
Newsgroups: rec.music.classical
From: shire@dorsai.com (Kenneth Shire)
Subject: Re: Jenufa at the Met
Organization: The Dorsai Embassy, New York's Computer Consulate. +1.718.729.5018
Date: Wed, 23 Dec 1992 15:27:26 GMT

CI>Rysanek...another universe, etc.

Chris, I was lucky enough to attend the dress rehearsal for Eve Queler's 
Opera Orchestra of New York concert performance of Jenufa about five 
years ago.  Rysanek, in street clothes, acting with an inexperienced 
soprano playing Jenufa, grabbed hold of that girl and the audience, who 
were only about 100 people spread over the Carnegie Hall orchestra 
section, and wove a magic spell.  No one could guess the intensity of our 
collective involvement until, unbelievably, Queler stopped the orchestra 
with only a minute of music to go, to correct a timpani entrance.  Mme. 
Rysanek was clearly heard to utter a quiet but clear, "Scheiss!"  The 
audience gasped, then seemed to realize at the same moment that we had 
all crept forward in our seats, drawn by Rysanek's extraordinary power. 
She is, IMHO, simply one of the finest singing-actresses of this age.  
And this is an informed opinion, since I was trained as an actor by 
teachers who include the late Stella Adler.  Stella would have loved to 
read your post.
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Newsgroups: rec.music.classical
Subject: Re: Bruckner
Date: 28 Dec 92 23:56:17 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <27DEC199217335014@deimos.caltech.edu> inr@deimos.caltech.edu (I. Neill Reid) writes:
> Add one more positive vote for Bruckner - not that he's the sort
>of composer I'd listen to every day. You have to be in the right
>mood to appreciate the gradual (so,metimes ponderous) development.

And add one more negative.  This is the only composer that I have ever come
seriously close to falling asleep onstage during a performance.

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Quartet
hsmoliar@db1.speech.cs.cmu.edu
Newsgroups: rec.music.classical