HDTenEightyP/NetNews huggingface dataset:
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Mahler's 8th Symphony
Organization: Camosun College, Victoria B.C, Canada
Date: Tue, 6 Oct 1992 16:37:57 GMT

In article <1992Oct5.225548.29390@athena.mit.edu> syliao@athena.mit.edu (S Yi-Huang Liao) writes:
>I'm seeking recommendation on this Symphony.  I have listened to the following
>recordings:
>
>Tennstedt (London SO)
>Solti (Chicago)
>Kubelik (Bavarian Radio)
>
>and have found various bugs with each.  Among some of the most annoying bugs
>are:
>
>(1) The London's brasses are kind of sloppy in many passages.  Also, the organ
>did not play its full sound at towards the climax "Alles Vergaenliche" where the
>score marks "Volles Werk".  That's a true disappointment because the tension of
>the entire piece sort of builds towards this climax.
>(2) Chicago has a much, much better brass section than London, although at some
>passages they are out of tune, too.  The tenor and baritone soli don't seem to
>hit the precise pitch right on the note.
>(3) The male soli in Kubelik's are more precise than those in Solti's.  However,
>the female soli often have intonation problems.  Some phrasings were also
>inconsistent with the score and the lyrics.
>
>I know this is a difficult piece to perfrom, but given the professional quality
>of modern orchestras and recording technology,
>I expect more than these have to offer.  I'd like to listen to your opinions
>on the following recordings and any others:
>
>Bernstein
>Ozawa
>Shaw
>Inbal

If you are looking for a perfect Mahler 8 you are doomed to
disappointment. There are two Bernstein's: 1966 (LSO) and 1975 (VPO).
The first is marred by an over-close recording, although it is my
favourite performance of all; the latter - recorded live at the
Salzburg Festival, was issued because he did not live to remake it in
modern digital sound for DG. The recording is less-than-deluxe and the
soloists are variable, and you can really hear Lenny leaping about at
times. I really like it though.

As to the others, I cannot imagine Ozawa's being other than really
boring, although I haven't heard it. Shaw has had generally poor
reviews and certainly has no track record in Mahler. Inbal is
variable, I like his 1st and 3rd, but the 8th, not Mahler's strongest
work, needs very special advocacy.

Frankly I doubt if we'll ever have an ideal Mahler 8, although
Rattle's willl probably be worth waiting for.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: music scores cost a fortune!!!
Date: Thu, 1 Oct 92 20:11:56 EDT

Two alternatives to high-cost scores are
	a) inter-library loans (search through MANY libraries
	throughout the country for expensive or rare scores and borrow
	them!) AND
	b) Look for DOVER editions (not yet as extensive as I'd like,
	but what they have is primo quality at very reasonable
	price!)
-- 
*-------------------------------------------------------------------------*
#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
*-------------------------------------------------------------------------*
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: modern liturgical music
Date: 28 Sep 92 11:54:47 GMT
Organization: Oxford University VAX 6620

In article <47085@dscatl.UUCP>, mgresham@dscatl.UUCP (Mark Gresham) writes:
>>> I'm looking for suggestions of "modern liturgical music".
>>
>.... [Distler's] "Lo, How A Rose" is a gem.
> 
> Nystedt's "O Crux" is excellent, as is his "In Principio" though
> I like the former better myself.  (Not for the harmonically timid.)
> 
OK, I'm going to be the group's resident pedant and ask whether the original
poster (not Mark Gresham) meant religious music (which is what has been
offered) or true liturgical music---settings of words from the liturgy: Masses,
Magnificats, Nunc Dimittises and so on. I'm afraid I'm fairly sensitive, having
left a non-liturgical church for a liturgical one.

If we're after true liturgical works, and "modern" just means "20th century"
rather than "more or less contemporary", and the liturgy referred to is an
Anglican one, then there are few composers to beat Herbert Howells. Someone has
already mentioned Arvo P"art, who wrote a very easy, hypnotic Mass which is not
very suitable for an average Parish Eucharist. 

-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
From: sec@otter.hpl.hp.com (Simon Crouch)
Newsgroups: rec.music.classical
Subject: Re: Haydn symphony recommendations?
Date: 2 Oct 92 10:05:24 GMT
Organization: Hewlett-Packard Laboratories, Bristol, UK.


Recently (re)released in this country is a 4CD set (on Philips)
of Haydn's "London" symphonies performed by the Concertgebouw (sp?)
(using modern instruments) under Colin Davis. Since they received
universal critical acclaim here, I bought the set and will simply say
that the critics are accurate! Highly recommended.

Simon.
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Margaret Hillis to leave Chicago Symphony
Date: 29 Sep 92 18:40:42 GMT
Organization: pubs
In-reply-to: jfh@netcom.com's message of Tue, 29 Sep 92 15:35:09 GMT

Jack Hamilton writes:

   BTW, I also had the opportunity to sing under Margaret Hillis, and
   she is terrific.  And that voice!

For those who don't know what Jack is referring to, Hillis's speaking
voice is about as low as my father's (and he sang bass in her chorus).
I assume she sings or sang at some point; the result must be
interesting.  On the other end of the spectrum, I once talked briefly to
a true countertenor: a wonderful high voice unlike any other I've heard.
Unfortunately for him, he didn't seem the type to know about Baroque
music and so forth, and was probably unaware of how valuable his voice
could be in the right place.

Chris Brewster
cb@cray.com
From: misha@CS.HUJI.AC.IL (Michael Pak)
Newsgroups: rec.music.classical
Subject: Guido Cantelli
Date: 5 Oct 92 18:32:16 GMT

Hi.

  Sorry for being a nuisance to some poeple here, but I can find no other
way. I've posted to the classm-l mailing list and to Dave Lampson personally,
but I think this forum would prove itself helpful.

  I am trying to locate Guido Cantelli's performance of Brahms' 3rd Symphony
with the Philharmonia Orchestra (and not the NBC or NYPO, as some people on
classm-l thought). This CD (EMI, CDH7-63085-2), comes coupled with Schumann's
4th. I have told on the list, that EMI have deleted this entry from their
catalogue. If this is true, do you know of any not-so-hard way of getting it?
I have received an address of a place where I can check it, but I would like
to get some more references, in case that place does not happen to have that
CD.

Thanks a lot, and apologies to all the people who read this request for
the second (or third) time...

Misha.

P.S. What do you think of the performance?
Newsgroups: rec.music.classical
From: rbrooks1@cc.swarthmore.edu (Rob Brooks)
Subject: Re: Orchestras/conductors
Organization: Swarthmore College
Date: Thu, 1 Oct 1992 15:36:57 GMT

In article <1992Oct1.042835.13776@nuscc.nus.sg>, art30248@nusunix1.nus.sg
(NG LING LING) writes:
> 
> I wonder if any of you can help me. I'm doing a compilation of some of
> the big name orchestras and hope to do a list of who's conducting who
> (or who's the Musical Director).
> 
> European Orchestras:
> 1.   Berlin Phil         Abbado
> 2.   Vienna Phil         ?
> 3.   London Symphony
> 4.   London Phil         Franz W. Most
> 5.   Royal Phil
Ashkenazy is there I believe.
> 6.   Dresden Staatkapellen
> 7.   Concertgebouw       Chailly
> 8.   Suisse Romaunde
> 9.   any others ?
BBC Symphony  - Colin Davis
CBSO - Simon Rattle
> 
> American Orchestras:
> 1.   Chicago             Barenboim
> 2.   New York            Masur
> 3.   Philadelphia        Swallich
> 4.   Cleveland           Maazel (?)
Dohnanyi since the early 80's
> 5.   Los Angeles         Giulini (?)
> 6.   Boston              Ozawa
> 7.   St. Louis           Slatkin
> 8.   Montreal
Dutoit
> 9.   San Francisco       Bloomstedt
> 10.  Cinncinati          Kunzel
> 11.  Other orchestras with big recording contracts ?
> 
> Other continents:
> 1.   Israel              Metha
> 2.   Tokyo Symphony
> 3.   ?

Rob
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Mahler 9 (was Re:Mahler 1)
Date: 4 Oct 92 14:19:05 GMT
Article-I.D.: Princeto.1992Oct4.141905.16425
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <BvKwuB.JKq@news.cso.uiuc.edu> al21146@uxa.cso.uiuc.edu (Richard Feynman Albert Li ) writes:
>  How about the three versions by Bernstein? 1.with NYP 2.with Amsterdam
>3. with BPO(a new release)

Let's not forget the old Klemperer on Angel, either.  

Roger
From: RHASKINS@UMAB.BITNET (Robert Haskins)
Newsgroups: rec.music.classical
Subject: Re: Sorabji plays Sorabji
Date: 28 Sep 92 19:33:25 GMT
 <1992Sep17.235928.812@spang.Camosun.BC.CA>
 <1992Sep18.002104.1060@spang.Camosun.BC.CA>
 <1992Sep25.003706.10590@gateway.ssf-sys.DHL.COM>
Organization: University of Maryland at Baltimore

Mark Chen -- (and 1,000 pardons if it's been already answered) -- his
name is Michael Habermann.  And when were you there?  I was there 1980-
1985.

Bob Haskins
Newsgroups: rec.music.classical
Subject: Re: melody in Rachmaninoff's 2nd Symphony
From: srgcraf@grace.cri.nz (Ross A Fletcher)
Date: Mon, 5 Oct 92 00:45:18 GMT
Organization: Industrial Research Ltd

In article <1992Oct3.000904.20496@europa.asd.contel.com> ashley@oasis.gtefsd.com (Bob Ashley) writes:
>Subject: Re: melody in Rachmaninoff's 2nd Symphony
>From: ashley@oasis.gtefsd.com (Bob Ashley)
>Date: Sat, 3 Oct 1992 00:09:04 GMT
>In article 6073@morrow.stanford.edu, AH.PBL@forsythe.stanford.edu (Mark) writes:
>>In article <BvGnLI.MrK@cdsmn.mn.org>,
>>wells@cdsmn.mn.org (Rich Wells) writes:
>>>The third movement of Rachmaninoff's Symphony #2 begins with a
>>>melody that I know has been used by some pop/country tune.
>>>
>>  The title of the song is "All By Myself".  I don't know
>>who wrote/sang it, though.  Eric something...?
>>
>>  "All by myself, I don't wanna be...all by myself...
>>blah, blah, blah..."
>>
>>-- Mark
>>
>
>I believe it was Eric Carmen ... 
>
>
>Bob - I don't believe it was Clapton

The original poster is correct.  The song that came out in the mid '70s and 
was called "Never Gonna Fall in Love Again".  It was sung by an all-girl 
group (something like the Supremes - but it wasn't them).  I recently heard 
it as a jazz "original" on a Chet Baker album.  Don't remember the title but 
it wasn't the one above.

Ross>>---------------------------------------------------------------------
--->Bob Ashley                        Internet:  Bob.Ashley@oasis.gtefsd.
com>>Software Engineer, (703)-818-4656  | Winter Bowling Leagues 1992-
1993>   GTE Federal Systems Division    |    GTE FSD Mixed Secretary: Thu 17:
45>   15000 Conference Center Drive   |    Thursday Mixups:         Thu 20:
30>   Chantilly, VA   22021-3808      |    NFL Mixed Secretary:     Mon 21:
00>>
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: haydn symphony recommendations
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 1 Oct 92 15:43:59 GMT

In article <28SEP199215451990@eccles.caltech.edu> inr@eccles.caltech.edu (I. Neill Reid) writes:
> yes, it's the Haydn backlash. Sorry, Asbed Bedrossian, but
>I agree completely with Deryck Barker - Haydn was the finer
>symphonist than Mozart (the piano concerti are another matter).
>
The Haydn backlash - this here is one of my major musical pet peeves.  
For a while now I've suspected that (barring pre-JS Bach composers),
Haydn is by far the most under-appreciated composer.  A couple 
of years ago, KUSC did a poll of classical "favorites" among its 
listeners to determine a "top 40".  Haydn didn't even make it.  
Go figure.  I doubt I can name even ten composers I like as much.


John D.

Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Jascha Horenstein (Was Re: Mahler 9 (was Re: Mahler 1))
Organization: University of Delaware
Distribution: usa
Date: Tue, 6 Oct 1992 20:23:42 GMT

In article <1992Oct6.173412.19947@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:

>In article <1arbpbINNbli@beryl.Stanford.EDU> GQ.JNK@forsythe.stanford.edu (John Klemm 3-4420) writes:
[....]
>>IMO, the Mahler 7th is far from special -- perhaps because, like so
>>many other Horenstein recordings, its merits seem overblown and its
>>demerits are rarely mentioned in criticism, nor treated as if they
>>would be significant to any serious listener.

I would agree to some extent.  Horenstein can be very persuasive, and I
value many of his recordings.  But not all, and I think his admirers do
him a disservice when they praise all his work equally.  (The same is
true, of course, of the Toscanini-, Callas-, etc.-, worshippers.)

>Secondly Horenstein's Mahler can seem undercharacterised for someone
>brought up with Bernstein's frequently hysterical view of the
>composer. 

"Hysterical" is a rather judgemental word, isn't it, for what is after
all a valid view of a composer whose works compass emotional extremes.
If Mahler filled his scores with such minute detail, he did probably
intend them to count for something, right?

>Horenstein brings an almost classical restraint to Mahler at
>times, which to me can be far more persuasive. 

"Can be" is the correct word.  I sometimes find it so, sometimes not.

>>I feel I have been burned by purchases of Horenstein performances,
>>where the conductor's talents (which are not electrifying, at least
>>not from what I hear in the Mahler 7th) have not overcome these
>>other problems enough to give me a satisfying musical experience.

>I feel this is your loss, but obviously you don't. Which other
>performances did you feel 'burned' by?

If I may answer a question directed at another:

I wouldn't say "burned," because I knew it was a risk and I collect
performances of this piece anyway, but the live performance of the
Mahler 8th (which I bought on LP around 1986) is pretty disastrous.  He
may have a great conception going on inside his head, but it didn't come
out on this occasion.  Meanwhile people are often not even in the same
measure at the same time, and it's a miracle that they can get back
together after some of the debacles.  This recording is a "document," I
guess, and what it tells us is that things went seriously wrong on this
occasion in (1959?).  No musical pleasure to be had here.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: kldawkin@undergrad.math.waterloo.edu (Kiwi)
Subject: Availability of Alkan Piano Scores
Organization: University of Waterloo
Date: Mon, 5 Oct 1992 04:55:16 GMT

Hello there. I am trying to get hold of Alkan's "Douze Etudes dans les
tons mineurs Op.39" in piano score, preferably urtext editions...
does anyone know if they are available? 

I hope that with the renewed interest in Alkan's music 
that seems to be on the rise, he'll get a bit of the fame he 
justly deserves (even though he'd be turning
in his grave if he knew that he was becoming famous!).

By the way, at the University of Western Ontario, they have a rather
rickety area of shelving in their music library so they have
officially named it "The Charles Valentin Alkan Memorial Bookshelf".

Cheers.

K.
   ,------------------------------.,---------------------------------.   \._,
  /   7   ,7  o             o     / kldawkins@cayley.waterloo.edu    /   < /
 /   /--<'   /   /  ,  /   /     / kldawkins@descartes.waterloo.edu /     ' 
/  -'    `--'`--'`-'`-'`--'`-   / kldawkins@orchid.waterloo.edu    /    /7 
`------------------------------'`---------------------------------'    //  NZ!
"Don't call me God. Call me Pope so I have something to aspire to."    '
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: modern liturgical music
Date: 28 Sep 92 12:27:21 GMT
Organization: Oxford University VAX 6620

In article <1992Sep24.215424.2069@TorreyPinesCA.ncr.com>, lms@TorreyPinesCA.ncr.com (Max Stern 310-524-6152) writes:
> In article <1621@cogsci.ucsd.EDU> baldwin@cogsci.ucsd.EDU (Ken Baldwin) writes:
>>I'm looking for suggestions of "modern liturgical music".
>>I'm familar with works by Arvo Part and Stravinsky which would
>>qualify. Any other pointers would be appreciated. Thanks,
>>
> Are you interested only in *Christian* liturgical music?  If your
> interest encompasses Jewish music, I can turn you on to some wonderful
> stuff.
> 
>  Bernstein's "Chichester Psalms" is already a
> classic.  

Is this really Jewish liturgical music? Since it was commissioned for the
Anglican Cathedral in Chichester I suspect not! There's a very fine line to be
drawn between Jewish and Christian texts, and I'm not sure that the religion of
the composer is of paramount importance. I'm sure someone will disagree,
though!
-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
From: newton@garnet.berkeley.edu (Isaac Newton)
Newsgroups: rec.music.classical
Subject: Music Club (Mail Order) Recommendations Sought
Date: 5 Oct 1992 21:26:57 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: garnet.berkeley.edu
Summary: I want your opinion
Keywords: Music Club, Mail Order

Hello,

I'm looking to join a music club.  If you have a recommendation
for one, I would love to know about it.  My main criteria is
selection, especially operas.

Thanks,
Newton


-- 

<>-<>-<>-<>-<>-<>-<>-<>-<>-<>                
|newton@garnet.berkeley.edu |        [[^L ^[^[[ VMS SUCKS!
<>=<>=<>=<>=<>=<>=<>=<>=<>=<>   
Newsgroups: rec.music.classical
From: epohl@hubcap.clemson.edu (Erik Alan Pohl)
Subject: Re: rec.music.classical FAQ
Summary: modern composers and cryptlike
Keywords:  a novice
Organization: Clemson University
Date: Mon, 28 Sep 1992 16:53:53 GMT

I am a novice to classical music- I heard on public radio (South Carolina)
   a presentation of representative composers from Finland- one of them was
   a modern composer (I forget the name exactly, perhaps Shikta (as it sounds))
   and would like to find out more about h(im/er).  Does anyone have 
   a suggestion of where I could find a book of modern composers and
   details about them- I also would really like to purhcase a CD containing
    this person's work-

also, can anyone suggest compositions which share the same eerie, morbid
   themes or feel (yeah, subjective i know) of Night on Bare Mountain,
   the Sorceror's Apprentice or the Danse Macabre? The music need not be
   programmatic  to suit my tastes if it contains a dark feel...

whatever, thanx for your help.

  



-- 
-------------------------------------------------------------------------------
"It's still hard for me to have a clear mind thinking on it.
 But it's the truth even if it didn't happen."(One Flew Over the Cuckoo's Nest)
---Erik Pohl at epohl@hubcap.clemson.edu--------------------------------------- 
From: sec@otter.hpl.hp.com (Simon Crouch)
Date: Thu, 24 Sep 1992 09:22:54 GMT
Subject: Re: recordings of Bach's Cantatas: recommendations wanted
Organization: Hewlett-Packard Laboratories, Bristol, UK.
From: mvburke@silver.ucs.indiana.edu (mary virginia burke)
Subject: Re: Bach Cello Suites on Period Instrument: Rec. Wanted
Organization: Indiana University
Date: Wed, 7 Oct 1992 04:12:25 GMT

In <1992Oct6.210317.23962@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:

>In article <1992Oct6.065125.8678@midway.uchicago.edu> pkbockus@gsbphd.uchicago.edu (Keith Bockus) writes:
>>I'm looking for a recording of the Bach Cello suites
>>on a period instrument, but haven't found any 
>>recommended recordings.  Any suggestions 
>>(or reasons why I should not be looking for
>>such a thing)?
>>
>>Thanks in advance!
>>
>>Keith Bockus 

>Peter Wispelway's recording of the suites on Channel Classics
 ^^^^^^^^^^^^^^^ Pieter Wispelwey, isn't it?
>is stunning on all counts.  Go for it.

Hmm, haven't gotten to this one yet, but it's on my Christmas list.

But until the jury comes back on Mr. Wispelwey, I staunchly maintain that
Anner Bylsma's recording is the best one around, and that's including the
modern-instrument performances.....Problem is, it's next to impossible to 
lay hands on it any more.  I have the whole set on vinyl, but so far have only
been able to locate the CD with suites 4, 5, & 6 (on Pro Arte, I think it is).
The good news is that he's allegedly going to re-record the set sometime in 
the near future (at least, that's what the concert flyer said).  'Tis a 
consummation devoutly to be wish'd.

Happy listening--MVB

"Now it's over, I'm dead, and I haven't done anything that I want, or I'm
still alive and there's nothing I want to do."--TMBG
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Bruno Walter's Mozart recordings
Organization: University of Delaware
Date: Mon, 28 Sep 1992 17:40:14 GMT

In article <1992Sep28.055358.18626@cmcl2.nyu.edu> tony@cns.nyu.edu writes:

>If you like the style, I'd also commend highly the Giulini/NPO coupling
>of Symphonies 40 and 41, available on London's cheap Jubilee label.

Absolutely.  One of the first classical records I bought in college, and
still one of my favorites.  What color and drama Giulini makes this
music reveal.  (One of my first remembered bits of revulsion at those
with an anti-humanly "pure" idea of Mozart came when I read an American
Record Guide review of Giulini's "Don Giovanni" in which the *ssh*l*
reviewer said something like "Giulini elicits too wide a range of color
and accent for Mozart."  [That was in 1964.]  *Too wide* a range of
color, excuse me?)

Jon Alan Conrad
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Speaking of the Ring -- without words
Organization: University of Delaware
Date: Wed, 30 Sep 1992 14:31:27 GMT

In article <30SEP199208021305@amarna.gsfc.nasa.gov> packer@amarna.gsfc.nasa.gov (Charles Packer) writes:

>I acquired Lorin Maazel's "Ring Without Words" CD recently....

>This makes me wonder now about the excerpts I've been familiar
>with for such a long time as recorded by Szell, for example.
>They are much more set pieces, with endings, etc. I don't know
>the operas themselves, so I ask: do they include some tinkering
>to give them a "standalone" capability, or do they simply
>represent a different pattern of selection than the Maazel
>version?

Yes, almost all standalone excerpts require some tinkering.  Sir Donald
Francis Tovey, who used to rail against "bleeding chunks" of Wagner on
display in the concert room, said that (aside from self-contained
overtures, of which the Ring has none), there are three kinds of Wagner
excerpts:  the kind that starts nowhere (Magic Fire Music), the kind
that ends nowhere (Siegfried's Funeral March), and the kind that starts
AND ends nowhere (Forest Murmurs).  If a piece starts nowhere (i.e.,
emerges out of the previous scene), that is often left to stand as is in
the concert version; but if it ends nowhere, some kind of concert ending
needs to be cobbled on.  Humperdinck wrote the ending for Siegfried's
Rhine Journey.

Also, some of these excerpts are not standardized in their concert form.
Some conductors do more of the Ride of the Valkyries than others ("one
more time through the big tune, everybody!"), and Szell cues some of the
voice parts onto trumpets etc.  For good ol' Lohengrin Act III prelude,
some conductors end on a Big Chord, others tack on the "Never ask my name"
motif; NOBODY does the printed concert ending, which with remarkable
ineptitude changes key as in the opera and does 4 measures of the famous
Wedding March, then stops cold!
 
Jon Alan Conrad