HDTenEightyP/NetNews huggingface dataset:
From: rpeck@bronze.ucs.indiana.edu (robert william peck)
Subject: Re: The Best UN-finale?
Organization: Indiana University
Date: Wed, 16 Dec 1992 20:00:46 GMT

In article <1gnii7INNibh@master.cs.rose-hulman.edu> stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
>
>What is YOUR favorite ending or finale to a classical piece?
>
The question of endings reminds of Karlheinz Stockhausen's ideas on
beginning vs. starting and ending vs. stopping, which I believe he was
formulating around the time of the composition of _Momente_.
To make a long story short, a musical idea may start without
having a /beginning/, per se; similarly, one may stop without 
requiring an /ending/.  These theories found their expression in pieces
which are described as being in `moment form.'  (Several examples are
included in Jonathan Kramer's _The Time of Music_, including many works
by Stravinsky.  Most notable, IMHO, is the _Symphonies of Wind Instruments_.)

With these thoughts in mind, does anyone care to name some of their
favorite stoppings, or un-endings?  Or perhaps starts, or un-beginnings?
(And, sorry, Schubert's "Unfinished" and PDQ Bach's "Unbegun" symphonies
don't count!!  :-)

--Bob
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: virgin classics, r.i.p. (
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 13 Dec 92 16:49:34 EST

AW>Sad to say, Virgin Classics is no more.  They weren't just releasing their
  >things under the EMI brolly - they were bought outright, and have now been
  >discontinued.  Whether EMI will release or rerelease much of the catalog,
  >or when, is anyone's guess at this point.

This is a pity -- are you sure the line is dead? When the buyout took
place, EMI said it would continue to operate Virgin Classics as a
separate division. There have been quite a number of releases since the
buyout in these parts, at any rate.

I held Virgin up as a great example of committment: it's the biggest
effort I recall of any company to launch a real classical label. They
produced a back catalogue of hundreds of titles in a very few short
years. A number of the titles were innovative programming and a decent
mix of known and emerging stars. Price points and packaging made the
product attractive as well.

They'll be missed.

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: cb@tamarack13.timbuk (Chris Brewster)
Subject: Singer: Heinrich Schlusslos [?]
Organization: pubs
Distribution: usa
Date: 11 Dec 92 13:05:14 CST


I hope I have the name at least close--I heard his version of Mahler's
Songs of a Wayfarer, on one of those syndicated late-night shows that
aren't listed in my schedule.  The recording sounded pretty old.  This
guy was great, quite different in tone from most voices we hear.  Anyone
familiar with him?  Is the recording available?  (It's not in the
Schwann I have.)

Chris Brewster

EMAIL TO: cb@cray.com

Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: The BEST finale
Organization: University of Western Ontario
Date: Wed, 16 Dec 1992 22:05:30 GMT

"Seht die Sonne," the final and only full chorus in Gurrelieder by 
Schonberg. You have to hear this live at least once in you life before 
you can say life has truly been worth living. I had the privilege of 
hearing Gurrelieder conducted by Boulez at a Proms concert in London a 
few years ago (Jessye Norman as the Wood-Dove). After the final chorus I 
had to be scraped off the ceiling. It was truly a mind-blowing, 
breath-taking, spine-tingling, awe-inspiring experience. No recording can 
or ever will do justice to this chorus.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: mchenry@guvax.acc.georgetown.edu
Newsgroups: rec.music.classical
Subject: re: Holst (was: best one-work composers)
Date: 16 Dec 92 17:57:53 GMT
Distribution: usa,world
Organization: Georgetown University

In article <1992Dec14.173645.11167@kadsma.kodak.com>, pajerek@telstar.kodak.com (Don Pajerek) writes:
> In article <1992Dec11.022555.25708@magnus.acs.ohio-state.edu> mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis) writes:
>>More than one person has mentioned Gustav Holst in the "best one-work 
>>composers" thread.
> 
> 
> Holst clearly fits the latter model, and is possibly its exemplar.
> Even here though there are problems. Most posters assume that, in
> Holst's case, the 'one work' is _The Planets_. One poster, however,
> clearly felt that it was the Suites for military band which are the
> basis of Holst's one-work recognition.
> 

Many consider the Hymn of Jesus to be Holst's finest work. A recently
released recording of The Cloud Messenger may cause that work to be 
re-evaluated. The reason the Planets looms so large is because it used so 
many orchestration techniques that have now become standard practices. 

Bill McHenry                   |Those who do not hear the past works
mchenry@guvax (bitnet)         |are condemned to recompose them....
mchenry@guvax.georgetown.edu   |                 -me
Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Greatest living conductors
Organization: School of Computer Science, Carnegie Mellon
Date: Fri, 18 Dec 1992 06:18:44 GMT

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)

After sitting through mediocre performance after mediocre performance with
Maazel conducting, the thought of putting him anywhere near the top tier of
recent conductors rings very false.  It's ludicrous how much money that guy
pulls down here in Pittsburgh.

-chris
From: ronthal-adam@yale.edu (Adam Ronthal)
Newsgroups: rec.music.classical
Subject: Re: One-work-composers
Date: 12 Dec 1992 20:03:20 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu

In article <1992Dec11.174114.11779@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>ronthal-adam@yale.edu (Adam Ronthal) writes:
>: In article <1992Dec10.193345.12981@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>: >
>: >No I can't buy that, not on the strength of this one piece - enjoyable
>: >though it is. And Mahler wasn't popular until the 1960s really, except
>: >as a conductor. Rott is an interesting sideline, but all this 'he was
>: >where Mahler's inspiration comes from' garbage is, I think, just that.
>: >We might just as well take up Mahler's own opinion that his younger
>: >brother - can't remember his name - who died, would have been a far
>: >greater composer.
>: >
>: 
>: Have you listened to the third movement of the Rott?  I haven't heard
>: something so blatantly plagiarized in some time. Perhaps I did exaggerate
>: a bit, but I do think it's fair to say that Mahler was certainly inspired
>: enough by Rott to make blatant use of his style, themes, and characteristic
>: rhythms and orchestrations, at least in his first symphony.  Of course,
>: Mahler plagiarized from lots of people (I'm not knocking Mahler, I love
>: Mahler, but facts are facts).  My basis for saying that Rott may very
>: well have exceeded Mahler in popularity is quite simply because he is
>: more accesible.  I know I would have loved to see how he would have 
>: developed his style in later works.
>
>No this is simply untrue. Mahler didn't see the score of Rott's
>symphony until the early 1900s. Das Klagende Lied - which as the
>composer said contains 'all the Mahler you know' - is as early, if not
>earlier, than Rott's symphony. This is precisly what I meant: let's
>run down Mahler because of some stylistic similarities with this
>unknown. They studied together, they were friends, it's as simple as
>that.
>
>Mahler was a genius, Rott may have been but we can't say for sure.
>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452

I was not "running down" Mahler. He is one of my favorite composers. 
When was Mahler's first symphony written? Just out of interest...

Adam

-- 
   /|\  /|~\   Adam M. Ronthal BR'94    |    ronthal-adam@yale.edu	
  /-| \/ |_/   P.O. Box 607 Yale Stn.   |    ronthal@minerva.cis.yale.edu
 /  |    | \   New Haven, CT   06520    |    ronthal@pop.cis.yale.edu
From: rsi@nssws3.scf.loral.com (Richard Ishikawa)
Newsgroups: rec.music.classical
Subject: Re: The BEST finale!
Date: 17 Dec 92 22:50:18 GMT
	<Dec16.202521.54518@yuma.ACNS.ColoState.EDU>
Organization: Loral Space and Range Systems, Sunnyvale, CA

>   >
>   >What is YOUR favorite ending or finale to a classical piece?
>   >
>   >--
>   The finale of Prokofiev's 5th Symphony is so wacky and unique, and Shostakovich
>   ends his 5th in such a frightening manner that I have to vote for these, too.
>
>
>


Definitely Sibelius' Symphony # 5 must be one of them!!!




-Rich




--
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
-*-*-* Richard S. Ishikawa -*-*-*-*-\     "To be or not to be..."     /*-*-*-*-
-*-*-*-* rsi@scf16.scf.loral.com -*-*-\   - can't be the question.  /*-*-*-*-*-
-*-*-* Loral Space and Range Systems *-*-*-*-* (408)734-6337 *-*-*-*-*-*-*-*-*-
-*-*-*-* 1260 Crossman Ave. Sunnyvale, CA  94089 *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
Newsgroups: rec.music.classical
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Re: Requia
Organization: Dept. of Mathematics, U. of Chicago
Date: Wed, 16 Dec 1992 04:24:12 GMT

In article <CB.92Dec14105132@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>
>I didn't study Latin but my wife did.  We agreed that more than one
>kleenex would be several kleenices, and she informed me that more than
>one thermos would be several thermores.  I want to get these things
>right.
>
>Chris Brewster
>cb@cray.com
>

Chris, if you want to get things right, then you are looking for a
plural for "thermos" in the wrong place, for it is a *Greek*, not a
Latin word (the corresponding Latin term is "calor"). The greek plural
of thermos is thermoi, but I understand that the standard plural form
of the word in English is also thermos. About Kleenex... well, what
can we say? Since it is a hybrid concocted out of an Anglo-Saxon root
(misspelled) and a Latin ending, I suppose there is no point in
bothering to discuss it from the philological angle :-).

                                                G.
From: kby@cco.caltech.edu (Kimo B. Yap)
Newsgroups: rec.music.classical
Subject: Re: Most drawn-out ending (Was: Best endings)
Date: 20 Dec 1992 22:51:33 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: alumni.caltech.edu

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.


>John
>zorro@picasso.ocis.temple.edu
>^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

OK, flame on.  I guess Alan Sherman agrees with you, however.

Much as I like the whole piece including the finale, I'll admit that the
end of the Schubert ninth is pretty drawn out (also on the Sherman recording).

Another drawn-out, although not necessarily bad ending is the last movement
of the Sibelius second.-kby
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: The worst composer in a millenium
Date: 16 Dec 1992 01:02:47 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

David Langs (langs@puhep1.princeton.edu) wrote:
: than ever before.  The use of the Ondes Martinon (sp?) along with the
: piano creates an atmosphere quite unlike anything else I am aware of in
: the symphonic literature. 

Not symphonic, but certainly recommended are the concerti for Ondes
Martinot and orchestra by Landowski, Jolivet and Bondon. The former is
my current favourite play, having only had it a week. Thoroughly
recommended is the Ondex Martinot movement in the 7-stars symphony by
Koechlin, a gentle and soothing work about as different as it is
possible to be from the majestic Turangalila (which IMHO remains one of
the high spots of the last 100,000 years).


Xref: sparky rec.music.classical:18934 ne.general:3522
From: MICHAEL.WILLETT@OFFICE.WANG.COM ("Michael Willett")
Newsgroups: rec.music.classical,ne.general
Subject: Boston Globe Selects Marcus DeLoach Christmas Concert As "Choice"
Date: 18 Dec 92 15:02:54 GMT
Organization: Mail to News Gateway at Wang Labs


                          Boston Globe
                        December 17, 1992

                         CALENDAR CHOICE

Saturday, December 19

"Christmas in New England".  Baritone Marcus DeLoach joins the Treble
Chorus of New England for a concert of Christmas carols and American
Christmas spirituals in Methuen Memorial Music Hall, 192 Broadway.
Marie Stultz will also conduct Rutter's "Dancing Day" and Britten's
"Missa Brevis in D."  Performance 7:30 p.m.  Tickets $7.50.
TELEPHONE 508-664-4705.

There will be an additional performance on Sunday, December 20
at 4:00 p.m.
Newsgroups: rec.music.classical
From: davidu@space.mit.edu (David)
Subject: INFORMATION WANTED: Pilgrim's Progess
Organization: MIT Center for Space Research
Date: Sat, 12 Dec 1992 23:23:55 GMT


Dear Classical Music Authority,

	I would love to hear from those knowledgeable people on this newsgroup 
who have any information about a disc set I saw at Tower the other week.  It
was called The Pilgrim's Progress and it was composed by Vaughan-Williams, if
my memory is correct.  If not, then it was composed by a fellow Brit, as it
was in the EMI British Composers series.  I assume that it is somewhat based
on the Bunyan work, but there is little else to go on...
	I thank you in advance for any help.



							Sincerely,

							Dave


-- 
David T S Um ~~~~~~~~~~~~~~~~~~~~~~~~ MIT Center for Firmament (Space) Research
davidu@Space.MIT.edu ~~~~~~~~~~~~~~~~ Cambridge MA ~~~~~~~~ Tel: (617) 253-9342
************** The heavens declare the glory of God; **************************
****************** and the firmament sheweth His handiwork! **** (Ps 19:1, KJV)








Newsgroups: rec.music.classical
From: vosse@ruls41.LeidenUniv.nl (Theo Vosse)
Subject: Re: The BEST finale!
Reply-To: vosse@ruls41.LeidenUniv.nl (Theo Vosse)
Organization: Leiden University, Netherlands
Date: Fri, 18 Dec 92 09:37:49 GMT

This finale thing seems to have only loudish things in it (well,
apart from the Mahler bits). So, here is another Mahler finale,
although it is not sure whether it is really the last movement (as
far as I know, the piece can be played in different order):

"Ich bin der Welt abhanden gekommen" from the Rueckertlieder

Another soft but very nice finale:
Mozart: 4/5 violin concerto's

and for loud finales:

Mahler: symphony nr. 8
Bach: Hohe Messe
Franck: symphonie in D
Hindemith: Mathis der Mahler (both the opera and the symphonic movements)
Mussorgsky: Pictures at an exhibition
Stravinksy: Sacre du Printemps

and for sheer volume, not beauty:

Tchaikowsky: Ouverture 1812

BTW, is there any finale that simply stops, i.e. does not die away
and does not reach a climax as well, but which is still worthwhile?

	Theo Vosse
	----------
	Unit for Experimental Psychology
	University of Leiden
	The Netherlands
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Messiaen Favorites (not Turangalila)
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 18 Dec 92 10:49:05 GMT


As the header suggests, I am in sympathy with those netters that have 
already expressed the view that Olivier Messiaen's music is worth 
getting to know but that Turangalila is far from his most appealing work.  
While Messiaen's oeuvre is highly heterogenous, Turangalila is in no sense 
representative of that body.  The apparent reason's for it's popularity - 
it's a flashy, elephantine, orchestral composition laced with ostentatious 
melodic motifs - also contribute to its near insufferable garishness.

Truth be told, I am not a hardcore Messiaenophile.  I find most all of
his music that I've encountered interesting and worth the time, but 
I only really groove on maybe half of it.  When one does come to love
a Messiaen composition however, that is a great find, because his music
is so unlike anyone else's.  Therefore, it seems particularly unfortunate 
that many people are likely to turn off to Messiaen in toto on the basis 
of their response to Turangalila.

In search of finer advocacy than that of which I am capable/inclined to,
I asked a friend of mine who is a bona-fide Messiaen fiend (but in rom-mode 
for rec.m.c) if he would care to post something substantial in response to 
the current round of Messiaen-bashing.  He declined, on the grounds that
the Messiaen image - quixotic, inaccessible, tasteless, modernist loon - is
the source of entirely too much fun for one to wish it deconstructed.
Though conceding his point here, I decided to at least kick the gauntlet
myself, by posting a list of recordings of Messiaen work that I personally 
enjoy (which he does as well).

So the list of recordings that I am including below are one's which ~1.5
Messiaen heads enthusiastically recommend, filtered through my own
personal biases towards the Messiaen catalog - these could be roughly
characterized as favoring Messiaenic expressionism over both 
impressionism and formalism.  The items listed include only recordings 
which I fully endorse, shorn of those which I can pretty much get when 
I squint hard.


Organ:
     Les Corps Glorieux - (1939); L'Ascension (1933).  Louis Thiry, Calliope.

Clarinet, violin, cello, and piano:
     Quatuor pour la Fin du Temps (1940). Tashi, RCA.

Chamber orchestra and chorus:
     Trois petites liturgies de la Presence Divine (1945). Marc Florian (dir.),
     Ensemble Abegg, Gabriel Faure Choir,  Cybelia. (also w/ music by Caplet).

For Voice:
     Cinq rechants (1948) - 12 Voices (3,3,3,3); O Sacrum Convivium (1937) 
     - small choir. Michel Tranchant (dir.)  Groupe Vocal de France, Arion. 
     (also w/ Nuits by I. Xenakis).

For Piano:
     Visions de l'Amen (1950) - two pianos; Canteyodjaya (1953).  
     Yvonne Loriod & O. Messiaen, Ades.



- Josh
From: wikla@cs.Helsinki.FI (Arto Wikla)
Newsgroups: rec.music.classical
Subject: Re: Flight of the Humblebee
Date: 18 Dec 1992 10:38:48 +0200
Organization: University of Helsinki, Department of Computer Science
Distribution: world
NNTP-Posting-Host: hydra.helsinki.fi

I have heard in concert this "Bumblebee" played by double bass!
The player was a Finnish virtuoso double bassist Jorma Katrama.
Great fun to listen to a gigantic bumblebee!
I'm sorry I don't know if there is a recording.

Arto Wikla, Helsinki, Finland
Newsgroups: rec.music.classical
From: gds@york.cs.ucla.edu (Greg Skinner)
Subject: Re: NEWS: Pavarotti booed out of the SCALA
Summary: IMHO
Originator: gds@york.cs.ucla.edu
Reply-To: gds@cs.ucla.edu (Greg Skinner)
Organization: in your face!
Date: Sat, 19 Dec 92 02:04:30 GMT

In article <1gtlk3INNqul@mizar.usc.edu> adolphso@mizar.usc.edu (adolphson) writes:
>In article <w0PqVB1w165w@midiline.la.ca.us> pattisan@midiline.la.ca.us (Patti Hayes) writes:
>>But as to the Boorishness of the audience...It was at LA SCALA...A
>>tenor kingdom like  San Francisco...In EUROPE they want things right
>>and if you don't do so you get booed!...
>And rightly so.

I don't suppose it ever occurred to you that the performer who is
making mistakes feels at least as badly about them as you do.

>>remember MOST of the audience knows the opera,aria,etc
>>just as well as the performer. They are mostly frustrated singers
>>and are just waiting for the performer to make a mistake. 

... undoubtedly, not thinking that one day it may be them up there,
making mistakes ...

>In any case, the people *I* know who go to operas know their stuff
>inside and out and don't hesitate to boo a big-ticket star when
>he or she performs like an amateur.

>>I find them embarrasing with their jaws shaking and 
>>lack of diaphram control coupled with poor breath control. I may not boo
>>because I am in america but I sure let someone know about my lack of
>>satisfaction about their choice. 
>Just boo the next time.  It gets the point across quickly and easily.

Y'know, nobody's forcing you to stay there.  If you don't like it, you
can leave.  You can also not go see that performer any more.
Newsgroups: rec.music.classical
Subject: Re: Looking for Classical Wedding Music
From: phoogenboom@eagle.wesleyan.edu
Date: 19 Dec 92 14:52:32 EST
Organization: Wesleyan University

In article <1992Dec17.164602.14299@hubcap.clemson.edu>, jayc@hubcap.clemson.edu (Jay Crawford) writes:
> I'm getting married in June in a small church that has a nice pipe organ.  My
> fiance and I would like to open the ceremony with 30 minutes or so of music, 
> as well as have the entrance and exit with nontraditional music.  When I say
> nontraditional, I mean the standard "wedding music" selections that you always
> hear.  The church is Episcopal and has the restriction that the music can be 
> classical as long as its sacred, so operas, etc., are out.  I'm looking for 
In pondering my strong personal objection to this restriction, I realized that
it precludes the standard wedding music, as almost all of it is secular in its
origin.  Most notably, the Mendelssohn wedding march (here comes the bride) is
from his incidental music to Shakespeare's "Midsummer Night's Dream" and the
other famous wedding march is from Wagner's "Lohengrin," which is,
unfortunately, an opera.  Please inform the music committee of this church (or
whoever is responsible for the policy) of this so that they can prevent further
secularization of their matrimonial ceremonies.

> suggestions for organ music to play prior to the wedding, during the entrance,
> during the exit, and any hymns that seem appropriate.  We both enjoy classical
> music very much, but aren't too familiar with organ pieces.  Thanks!
My parents used Bach's "Air for the G string (from the orchestral suite in D)"
and there are also some good baroque trumpet tunes by Purcell, Clarke, etc.
These are secular, unfortunately.

Peter Hoogenboom
phoogenb@ucs.indiana.edu
Please respond by email as I am gone for break til the 10th.
> 
> -- 
> Jay Crawford          
> jayc@hubcap.clemson.edu
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Newsgroups: rec.music.classical
Subject: Super FINALE
Date: 21 Dec 92 09:29:34 GMT
Distribution: rec
Organization: Helsinki University of Technology, Finland


  There was talk about the best last movements. Now, I was listening
  to Bach's Christmas Oratorio and came to think that here I have
  a super final, a set of finals in one piece (hmm, maybe a bit
  of extension here), all of them glorious and the last of them
  just nails me down with its strength.

  What other similar compositions are there to compare this with?
--
!
!	Jyrki Wahlstedt
!		Jyrki.Wahlstedt@hut.fi
!
!  Our life is no dream, but it should and will perhaps become one.
!
Newsgroups: rec.music.classical
From: eric <eschramm@magnus.acs.ohio-state.edu>
Subject: Records Database
Organization: The Ohio State University
Date: Thu, 17 Dec 1992 23:34:48 GMT



Does anyone have information on a shareware database program 

designed for audio recording collections? 

Please respond by email to alec@cheetah.math.oxy.edu

Thanks.
Xref: sparky rec.music.classical:19009 alt.conspiracy:13315