HDTenEightyP/NetNews huggingface dataset:
From: parson_r@cubldr.colorado.edu (Robert Parson)
Subject: Re: The BEST finale!
Organization: University of Colorado, Boulder
Distribution: usa
Date: Fri, 18 Dec 1992 02:58:19 GMT

 Oh well, I guess I'll add mine:
 
 Vaughan Williams #6. 

Newsgroups: rec.music.classical
From: bryan@netcom.com (Bryan Higgins)
Subject: Re: Good music for brass quintet
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Sat, 12 Dec 1992 20:36:37 GMT

sweaver3@mach1.wlu.ca (scott weaver 9209 U) writes:

>There is another good brass quintet piece out there called "Suite from the Mon-
>teregian Hills" by Dennis Calvert

Morley Calvert, I believe.

The Ingolf Dahl brass quintet is a great piece.  Also, check out "Brass
Menagerie" by Cheatham.
-- 
Bryan Higgins, Berkeley, California  (bryan@netcom.com)
Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: Harnoncourt and Svedja
Organization: Indiana University
Date: Fri, 18 Dec 1992 20:15:25 GMT

In article <Dec18.182047.62365@yuma.ACNS.ColoState.EDU> hurben@lamar.ColoState.EDU (Mike Hurben) writes:
>  This also brings up the question of what to think of JS.  In general, I tend
>to agree with his recommendations, but there are exceptions.  For example, he
>says of Karajan's Parsifal : "I wouldn't wish it on a dog,"  while I think
>it is one of the finest recordings I own.

This recording is indeed wonderful. But then this guy JS seems to have 
decided not to say anything positive about any recording Karajan made 
after  1960!

>  So if I am suspicious of NH, it is
>not because JS does not like him, but simply because I have heard only rotten
>music come from him.  What do you think?
>
Let's say you should read JS's book at the dinner table, so that the
huge bowl of salt you should keep handy doesn't make a mess.

But then, we are all expressing our subjective opinions. And how many
do we, or should we, take without any reservation.

				Sami Mitra
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: The BEST finale!
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Thu, 17 Dec 1992 18:33:38 GMT


In article <BzExCq.uE@news.udel.edu>, conrad@brahms.udel.edu (Jon Conrad) writes:

|> There are also a couple of "thrown-away" deliberately anticlimactic
|> endings that I find immensely satisfying in their offhandedness.
|> 
|> One is the very last moments of Rachmaninov's RHAPSODY ON A THEME BY
|> PAGANINI.
|> 
Yes, it is extremely satisfying when this piece comes to an end. 
Actually, it is the only satisfying part! :-)

Bradford Kellogg
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Requia
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sat, 12 Dec 1992 23:54:39 GMT

In article <1992Dec11.175142.11986@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>dbrus.Unify.Com.ceb@unify.uucp (Caroline E. Bryan) writes:
>: Contrary to the recent assertion by one of our opera buffs that non-opera
>: classical music fans invariably point to symphonies as the only music they
>: listen to, I'm a devoted fan of Requiems (Requia if your Latin's not so
>: rusty).  Can anyone recommend (with reasons) any specific requia (w/ or w/o
>: particular recordings)?  I already know and enjoy

>Requia????? My Latin is obviously less rusty than yours Caroline.
>Requiem is a verbal part of speech, not a noun. It has no Latin
>plural. 

Huh?  "Requiem aeternam dona eis, Domine."  Requiem is indeed a noun,
in the accusative singular.  The nominative singular is "requies,"
as is the nominative plural, I believe.   Why shouldn't the word for 
"rest" have a plural?

>It is only a noun in English (and other modern languages), and
>therefore should have an English plural. (Boy, what a pedant!)

Well, the English word is an abbreviation of "Requiem Mass," of which
the plural is "Requiem Masses."  But, yes, the plural is "requiems."
There are lots of names of liturgical pieces that come from the first
few words of the text: Tantum ergo, Te Deum, Stabat mater, Pater noster,
Ave Maria, etc.  We don't pluralize these with Latin forms, either.  

Roger

Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Greatest living conductors
Organization: Morgan Stanley & Co., New York, NY
Date: Fri, 18 Dec 1992 18:33:53 GMT

In article <1992Dec18.104013.2275@lloyd.Camex.COM> owen@lloyd.Camex.COM (Owen Hartnett) writes:
>>In article <1992Dec17.163848.21628@msuinfo.cl.msu.edu> fernande@cps.msu.edu (Jose Roberto Fernandez) writes:
>>>Inspired by the recent thread about greatest living pianists, I
>>>propose another thread on the "greatest living conductors."  So,
>>>who do you think are the greatest living (or recently died) 
>>>conductors?  I nominate the following for the top tier:
>>>
>>>*Karajan, Solti, Giulini, and *Bernstein
>>>(additional possibilities being Abbado, Haitink, and Maazel)
>>>(*-died recently)
>>
>
>I'd have to second the nomination for Carlos Kleiber, and add in Klaus
>Tennstedt.  Those are the two conductors I'd drop everything to see.
>
:
They're at the top of my list as well, along with Celibidache and
Sinopoli. 
:
>
>No one's mentioned James Levine, who I would rank up with the top
>conductors.  To me he's the finest American conductor. 
:
Well, he certain *was*, although I would argue that, like Maazel
and Ozawa, his best work was early on in his career.  His Mahler
cycle for RCA, notably the 5, 6, 9 and 10 are among the best I've
heard.



Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: flight of the humblebee
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 17 Dec 92 17:27:00 EST

B>>There are several version of "the Flight of the (B)Humblebee". The best
  >>I know is that from Bobby McFerrin and Yo-Yo Ma. And there
  >>exists a version with a brass ensemble. Does anyone know about
  >>further variations?

KB>Yes, there's a version on a Mercury Living Presence disk called
  >"Balalaika Favorites."  The disk is by a Russian folk orchestra
  >playing all manner of interesting Russian intruments.  It's
  >great fun!

It's pretty damn weird, actually! (Just put it on again...)
But, er, ah-hem, yes it IS great fun!

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: k22164@kyyppari.hkkk.fi (Mikko Reinikainen)
Subject: Re: St. Matthew Passion
Date: 18 Dec 92 10:46:40 GMT
Organization: Helsinki School of Economics, Finland

In <1992Dec17.154925.14867@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:

---
>The
>soloists' arias are then the outpouring of emotions from the choir (the
>faithful)
>suffer grief and shame
>("erbarme dich, mein Gott..")--
---
>Anyone who has ever betrayed
>anyone could be deeply moved by the aria following Peter's denial 

I think the episode of Peter's denial and the following aria+chorus is
the gem within St.Matthew Passion, and the aria (Erbarme dich), sang
by alto, is by far the most passionful aria I've ever heard. 

It's hard to say if female alto is better than a counter-tenor. In
Gardiner's recording Michael Chance sings the aria VERY well but I
could imagine many male altos have too "thin" voice for such an
expressive aria.

In the aria Bach's way of writing melody is clearly seen: long,
peculiar tune with beautiful references from the accompanying
instruments + the solo violin. I call this melody "a smelling melody":
it's so beautiful I not only hear it with ears but also feel inside my
brains, like smelling a flower (rhenenkefalon is one of the
fundamental parts of our brains, and it registrates smells - that's
way smells bring easily strong and vivid memories!).

Does anyone else share my experience?

	Mikko Reinikainen
	Finland


--
Mikko Reinikainen
k22164@kyyppari.hkkk.fi
Helsinki School Of Economics and Business Administration
Helsinki University/Faculty Of Law
Newsgroups: rec.music.classical
From: ext@wam.umd.edu (Eugene Zhu Xia)
Subject: Re: Favorate Moments in Opera
Organization: University of Maryland, College Park
Date: Wed, 16 Dec 1992 18:55:29 GMT





The big moments in Wagner's opera (The Vahalla theme when it first
appeared in Sence II of Rheinegold, the end of act I of Walkure, the 
end of Act I of Tristan und Isode, the Bridal chorus in Lohingren, the 
end of Tristan und Isode, the end of each one of the Ring, the end of 
Parsifal, and etc.) are too numerous to recount.  

So I will just mention the not so obvious moments.  
In Rheinegold, the return of the Giants with Freia is one of my all time 
favorate.  The theme begins in the distance with Freia's soft motif 
accompanied by the giant's heavy steps below.  The fire god Loge spotted 
them first, and joyfully proclaim the return of Freia.  Then the noble golden 
apple theme merges in in a majestic and exuberant way--the gods are saved!  
(In fact, a feeling of warmth just came up as I am writing about this passage,
and I am singing alound.  My officemates must think I am being weird...again)
After that there was a brief exchange between the gods to relieve tension.
Then came a beautiful and passionate hymn.  Another is Erda's warning.
It is most enchanting and mystic.  The short beginning of Act II of 
Walkure gives the most vivid impression of the approach of a towering 
figure.  And last but not least, "Seilig Gunther".

Eugene

P.S. I have the Leinsdoff's recording of Walkure.  So far, the opinions,
I have heard, about this recording is mixed.  I like to hear from the 
experts in the net, so I can decide if I should get the Solti's.  
Newsgroups: rec.music.classical
From: mikulska@astro.Princeton.EDU (Margaret Mikulska)
Subject: Re: why no women composers
Originator: news@nimaster
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Date: Sun, 13 Dec 1992 13:55:22 GMT

In article <1992Dec11.234816.23395@dgbt.doc.ca> ted@dgbt.doc.ca (Ted Grusec) writes:
>In article <1992Dec11.222014.419@Princeton.EDU> mikulska@astro.princeton.edu (Margaret Mikulska) writes:
>>In article <VuLLVB1w165w@cybernet.cse.fau.edu> elmo@cybernet.cse.fau.edu (Yuri Villanueva) writes:
>
>>>If it's because nature gave boys an extra music gene that girls don't got,
>>>then I guess it ain't too much of a tragedy.
>>
>>Indeed, it's not a tragedy from a man's point of view.  Now imagine
>>you're told "You are _biologically_ unable to pursue a serious career
>>in music" when all you _really_ want to do is music.  Not much of a 
>>tragedy, just an inconvenience, right?
>>
>>Thank you for such a sensitive and thoughtful contribution to this
>>discussion.
>
>There is no shortage at all of women pursuing careers in music.
>[...]
>So far, it seems to be a matter of
>political correctness, rather than of evidence and reason. The
>evidence, as I understand, is pretty good at this point for a
>gender-linked mathematical and spatial ability.  That too is not
>finally proven, but it has been actively pursued by good researchers,
>many of whom have been women.

You missed my point completely.  My sarcastic remark was directed at
Yuri's saying that if women are not genetically predisposed to musical
activities then "oh, well, big deal, it's not a tragedy".  That I find
very insensitive.  I haven't addressed the issue of "nature vs. nurture"
at all.

-Margaret
From: RHASKINS@UMAB.BITNET (Robert Haskins)
Newsgroups: rec.music.classical
Subject: Re: Schubert
Date: 16 Dec 92 15:26:52 GMT
Organization: University of Maryland at Baltimore

> From: i323859@phceaa20.cad-sg.ce.philips.nl ( HENK MEULENDIJKS     )
> Subject: Schubert
> Date: Tue, 15 Dec 1992 12:52:23 GMT
>
> Let you know that ther are two CD boxes each 9 CD's with all the
Schubert-songs available by DG
> This is no Import box
> I haven't heart them yet but surely going to buy them.

Do you know (or does anyone know) who's singing on this set?  It's
surely not complete, is it?  Or is it?  And does anyone have anything
to say about the Hyperion collection?  I've wondered whether it's
worth purchasing.

Bob
Newsgroups: rec.music.classical
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Re: Brahms Symphonies
Organization: Dept. of Mathematics, U. of Chicago
Date: Thu, 17 Dec 1992 19:08:46 GMT

In article <1992Dec17.170333.7115@tc.fluke.COM> strong@tc.fluke.COM (Norm Strong) writes:
>}: 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

I'd like to suggest Carlos Kleiber's recording of the 4th. I know it
is a ripoff from the point of view of playing time, but the
performance is so great that one easily forgets all reservations.
Incidentally, this is not the only recording of Kleiber's which one
would criticize for the same reason: Beethoven's 5th and 7th come
immediately to mind. Perhaps DG reasons that the performances are so
spectacular that people would buy them anyway; it would be interesting
to know how well they have sold compared with the competition.

Concerning Wand, I'd like to point out that he's one of the very few
conductors who do the third movement of #3 just right for my taste;
IMHO, most everyone else takes it way too slowly.
Newsgroups: rec.music.classical.guitar
From: seifert@netcom.com (Rich Seifert)
Subject: Who plays what?
Organization: Networks & Communications Consulting
Date: Wed, 16 Dec 1992 01:21:50 GMT

Does anyone have a copy of the earlier posting listing which performers
are playing which instruments? My teacher was interested in seeing it
and I didn't keep a copy.

E-mail is fine unless others want to see it again, too.


-- 
Rich Seifert                    Networks and Communications Consulting
seifert@netcom.com              (408) 996-0922
                                (408) 996-2860 FAX
"... specialists in Local Area Networks and Data Communications systems"
Newsgroups: rec.music.classical.guitar
From: sswoo@eos.ncsu.edu (SANG SIK WOO)
Subject: Question if there is any video tapes for the beginners
Keywords: Video tapes 
Organization: North Carolina State University
Date: Sun, 13 Dec 1992 19:03:31 GMT

Hello, you all musicians! :)

I am writing to ask if there is any video tapes that teaches 
you how to play guitar for the beginners.   Yes, I am gonna try
to learn how to play classical guitar.   

Please provide me with some guides, suggestions, instructions, or
any type of directions for beginners.

Thanks a bunch!

Sang S. Woo
(ssw@sequoia.nesc.epa.gov)


Newsgroups: rec.music.classical.guitar
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: looking for a teacher in Boston
Organization: University of Rochester
Distribution: usa
Date: Wed, 16 Dec 1992 05:11:08 GMT


I'll be moving into the Boston area in January (probably Arlington, but
I don't really know yet).  Can anyone recommend a good teacher, preferably
with some flamenco background, too, since I've just started dabbling in
that as well.

Gavin Steyn
steyn@cs.rochester.edu
"So he's had the lifelong ambition of reversing the polarity of the earth?"
Newsgroups: rec.music.classical.guitar
From: gg@iok.unit.no (Gus Gassmann)
Subject: John Williams 
Keywords: B. Gascoine 
Organization: University of Trondheim
Date: Wed, 16 Dec 92 11:09:46 GMT

I have this CD of John Williams recordings. All in all, the album is
not very good (reissues of dubious recordings of very inferior quality).
Still, I paid 7,90 Deutsche Mark for it, so I am not heartbroken.

There are two interesting pieces on the CD, both credited to one 
B. Gascoine. The pieces are called Lisa Larne and The Height Below.
Does anyone know who Gascoine is and which album the pieces originally
came from?
From: wjin@cs.uh.edu (W. Woody Jin)
Newsgroups: rec.music.classical.guitar
Subject: Re: Fingernails
Date: 15 Dec 1992 00:22:45 GMT
Organization: University of Houston
NNTP-Posting-Host: rodin.cs.uh.edu
Keywords: fingernails, stengthen

In article <Bz9pn6.BAD@unccsun.uncc.edu> jwh@uncc.edu writes:
>I would like to know if anyone knows of a proven way to strengthen weak fingernails
>that have a tendency to split.  I have read many articles in this group that have suggested
>making fake nails out of ping-pong balls, buying "Players Nails", coating the nails with

I think that this question is *similar* to "My fingers are short. How can I
extend them ?" for the pianists.  I saw many pianists who get operations on
their hands to extend their finger lengths.
I am not sure whether an operation on finger nails is also possible.
An unconfirmed suggestion is to eat enough iodine and calcium.

I have a friend who has very big nails and all the nails were beautifully
arced (were very smoothly round).  And the sound from his nails were
astounding.  I also suffer from the nail split problem and have weird nail
shape ( looks like /--\ ).


-- 
____   ____  ____ ____________________________________ (___) _________________
|  |   |  |  |  |  W. Woody Jin (wjin@cs.uh.edu)       (o o)      Moo.... 
|  |   |  |__|  |  PhD Student. Research Asst.  o=======\ /  I'm  a Cow Lover.
|  |   |        |  Dept. of Computer Science   / |     ||O   My wife  was born
\  |---|  |--|  |  University of Houston      `  ||'---||    in Cow year. Mooo
 \____/|__|  |__| _______________________________^^    ^^_____________________
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Fingernails
Date: 14 Dec 92 23:13:25 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <Bz9pn6.BAD@unccsun.uncc.edu>, jwh@uncc.edu (jerry holt) wrote:
> 
> I would like to know if anyone knows of a proven way to 
> strengthen weak fingernails that have a tendency to split.

	I recall seeing some comment (perhaps in alt.guitar) a while back about
a product called "Hoof Flex" which is made for horses hooves, and can
be found in most tack shops. The original poster said someone he knew
claimed that whenever they worked with this gunk (applying to horses
hooves to keep them from cracking and splitting), their own nails were
really strengthened. I asked someone I know who has worked with horses, 
and they said, yeah that's a common product ( and they also said it was
like stinky tar?). I don't particularly have a problem about needing
it, but I was curious. Why don't you give it a try and post the results?

  or you could take the approach another friend of mine did - he cut off
all his nails and switched to lute! Of course, he *really* is into 
renaissance and baroque music, but at this point he is a really good
lute player, and plays without nails.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: rseymour@reed.edu (Robert Seymour)
Newsgroups: rec.music.classical.guitar
Subject: Teachers in Portland, OR area?
Date: 16 Dec 92 23:54:42 GMT
Article-I.D.: reed.1992Dec16.235442.29911
Reply-To: rseymour@reed.edu
Organization: Reed College, Portland, OR


	I am considering taking lessons in classical guitar starting in  
January. I'm looking for a teacher in the Portland area. If you are one or know  
one who is good, please email to me with details (prefereably including  
experience and review). Thank you.

--
Robert Seymour				rseymour@reed.edu
Departments of Physics and Philosophy	(NeXTmail accepted)
Artificial Life Project			Reed College
Reed Solar Energy Project (SolTrain)	Portland, OR
Newsgroups: rec.music.classical.guitar
From: quigley@acs.ucalgary.ca (Martyn Thomas Quigley)
Subject: Re: John Williams 
Date: Sat, 19 Dec 92 03:36:14 GMT
Organization: The University of Calgary, Alberta
Keywords: B. Gascoine 

gg@iok.unit.no (Gus Gassmann) writes:
>I have this CD of John Williams recordings. All in all, the album is
     [..........]
>There are two interesting pieces on the CD, both credited to one 
>B. Gascoine. The pieces are called Lisa Larne and The Height Below.
>Does anyone know who Gascoine is and which album the pieces originally
>came from?

Brian Gascoigne is/was a percussionist/composer (although not particularly
good at either IMV).  The Height Below and Lisa Larne come from the album 
called "The Height Below".  Cube L.P.  1973.  Transcription available, 
Essex Music International.  Hate talking like telegram.  Stop.

Mart
Newsgroups: rec.music.classical.guitar
From: frank@retix.com (Frank Guerrero)
Subject: Re: Brazialian Rosewood (was Re: <None>)
Originator: frank@kirk.retix.com
Organization: Retix, Santa Monica CA
Date: Tue, 15 Dec 1992 01:25:26 GMT

In article <basinski-141292111000@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>In article <19506.2b28ed58@levels.unisa.edu.au>, xarjp@levels.unisa.edu.au
>wrote:
>> 
>> I see that Brazilian Rosewood has been placed on the endangered species
>> list.
>> This means, I believe, that trade in objects (guitars) constructed from 
>> this material is forbidden (criminal offence), regardless of the time of 
>> construction of the object. International transport of objects constructed 
>> from the material will result in customs seizure of the object, without 
>> compensation.
>> 
>> In other words, the same rules as ivory.
>> 
>> I'm sure I'll be corrected if I'm wrong.
>> 
>> Cheers, Rob Potter
>
>   There's a good article by luthier R. Brune' about the situation with
>brazilian rosewood and the recent international regulations on trade in
>the latest SOUNDBOARD (winter issue?). If anyone's interested, e-mail
>me, and if I get really bored, I'll type up a summary and post it.
>
>   I don't have the article with me, but I believe he said that trade in
>objects (like guitars) is permitted if the date of construction is before
>a certain time, BUT there is the issue of cumbersome export permits, etc.
>In short, if you're traveling with a guitar, you shouldn't have problems,
>but if you are trying to export instruments (or import) you probably
>will. The article gave some suggestions about who to write to (and who
>not to).
>----------------------------------------------------------------------------
>Mark Basinski      Internet: basinski@biosci.arizona.edu

The article has appeared in the latest Guitar Review and this month's
Classical Guitar magazine. It's highly unfortunate that this has affected
the guitar (as well as other instruments). Don't get me wrong - I'm very
pro-environment, but, the amount of Brazilian rosewood (ie, palo santo)
that is/has been used by luthiers is so minute that it can be considered
negligible. The decline of the tree has been due to several factors,
including cattle feed (yes, that's right - the big US burger makers use
those very cattle) and slash/and/burn agriculture methods to make way
for better returning crops.
Furthermore, this addition of brazilian rosewood to the CITES treaty (as
it's known) includes wood that has already been cut and is sitting on docks
in Brazil. This wood may potentially rot unnecessarily. Truly a shame,
especially considering that all a guitar uses is a approximately a
board-foot.
What I expect is that the palo santo guitars will increase in price. On
the other hand, it will promote exploration of new woods for our beloved
instrument. Some that I know of are palo escrito from Mexico and Canadian
maple.

Frank 
-- 
Frank Guerrero, Retix - The OPENNetworking Company
		2401 Colorodo Blvd, Santa Monica CA 90404 
		Phone:		(213) 828-3400 
		FAX:		(213) 828-2255