HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.classical


> I've seen claims recently that a number of David Oistrakh's recordings
> are being reissued on CD.  I'm looking for a recording of him playing
> Mendolssohn's Violin Cto (Em ?? -- the famous one).

I want his recording of JS Bach's Violin sonata #4, with harpsichord
accompaniment. I heard this on the radio once, but it was then, and to my
knowledge still is, out-of-print.

Tom

Newsgroups: rec.music.classical
From: sorin@techunix.technion.ac.il (Goldenberg Sorin)
Subject: Hummel Rondo, op. 11
Reply-To: sorin@techunix.technion.ac.il (Goldenberg Sorin)
Organization: Technion, Israel Inst. of Technology
Date: Mon, 4 Jan 1993 09:21:05 GMT

Does anyone know about a recording of that piece ?
Thanks
Sorin



Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: Bruckner (was: Re: Best finale)
Organization: Helsinki University of Technology, Finland
	<1993Jan2.052409.23330@mnemosyne.cs.du.edu>
	<Jan.3.18.02.15.1993.16049@math.rutgers.edu> <1290@xlnt.COM>
Date: 5 Jan 93 21:43:14

In article <1290@xlnt.COM> david@elwood.NoSubdomain.NoDomain (David Johnson) writes:
>|> >"Imagine that you're walking in the Alps.  You look up at a majestic,
>|> >snow-covered mountain.  That is Mahler.  Then you look down at the
>|> >wild flowers growing at your feet.  That is Bruckner."
>|> 
>|> Exactly backward, except that the flowers are cultivated.
>|> 
>|> Bertram Walsh  Mathematics Dep't  Rutgers University New Brunswick NJ 08903

>I am not a Bruckner basher but I cannot see, regardless of the degree
>one's imagination is stretched, how one can perceive that
>Bruckner is superior to Mahler.  I consider some of Mahler's works
>some of the best even written for their respective genre.  I cannot
>say the same for anything Bruckner has written.  I do not hate
>Bruckner but I love Mahler's works.

  The image implies their music is different. I do not see that it
  implies superiority in any direction, really!
  For me Bruckner's music is somehow the most innocent music there is,
  it is childlike and charming in that it does not pretend to be any
  different than it is. It does not try to make any effect on me, it 
  just is and tells the truth of something visible and/or invisible.
  Hmm, these are my feelings and impressions!
  I wouldn't even say Bruckner's music is romantic (imo:-) though the 
  length of the symphonies is what it is (that has actually nothing to do
  with it). Maybe my view of romantic music is a bit narrow, but I think
  romantic music tries to produce certain emotions on the person who listens
  to it (not only romantic emotions). I could, I believe, produce better
  definitions, but the previous is the first thing that comes to mind.

  These are my totally subjective opinions, there is no logic in them
  (ie. I do not claim any statement to be correct) and I only hope someone
  understands me!
--
!
!	Jyrki Wahlstedt
!		Jyrki.Wahlstedt@hut.fi
!
!  Our life is no dream, but it should and will perhaps become one.
!
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: more info on "Mob" version of Peter and the Wolf
Organization: University of Western Ontario
Date: Mon, 4 Jan 1993 23:54:35 GMT

Looking for info on this recording. As I recall the narrator was George 
Raft. Anybody know about this?

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: kldawkin@undergrad.math.waterloo.edu (Kiwi)
Subject: Re: Voice Leading Correction
Organization: University of Waterloo
Date: Tue, 12 Jan 1993 02:01:48 GMT

In article <1isjbvINNi9f@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:
>In article <C0oBKK.M0L@undergrad.math.waterloo.edu> kldawkin@undergrad.math.waterloo.edu (Kiwi) writes:
>>if anyone has elegant solutions for them... for example,
>>the old "never double a leading tone" rule is awfully simple to understand
>>for us, but you try telling a computer exactly what a leading tone *is*
>>and *when* it's a leading tone, and things get a little more complex.
>
>Normally this rule is merely a restatement of the "no parallel octaves"
>rule. It exists mainly because leading tones normally resolve a half-
>step up, and, of course, if you've got two leading tones, their resolution
>will either result in parallel octaves or parallel unisons. Of course
>there are exceptions (as there are to all of these "rules"), but I would
>say skip it for now.
>
>>Also, unresolved leading tones are a problem, as are unresolved sevenths
>
>I would look at the intervals from the bass. If there exists a perfect
>fourth, diminished fifth, or minor seventh, (or any compound interval
>version, of course) the voice which forms that interval with the bass
>should be a half-step lower in the following chord. Some other dissonances
>are harder to spot algorithmically (not to mention for Renaissance
>theorists, who always looked at the voices in relation to the bass,
>and thus introduced the notion of the perfect fourth being a "dissonance.")

	You missed one... if a voice is a major second
	away from the bass, it better be a seventh...
	I like the idea and I'll put it in tomorrow.
	When I have time.
	However, your analysis will only work with dominant
	sevenths... problems arise when looking at non-dominant
	sevenths, like a ii7 chord... say we're dealng with a d7
	chord so it's d-f-a-c, and the f is in the bass.
	Then the c forms a perfect fifth and how to you
	know it's a seventh? I'll work on it.

>Bill

	Thanks!

	Kyle.

   ,------------------------------.,---------------------------------.   \._,
  /   7   ,7  o             o     / kldawkins@cayley.waterloo.edu    /   < /
 /   /--<'   /   /  ,  /   /     / kldawkins@descartes.waterloo.edu /     ' 
/  -'    `--'`--'`-'`-'`--'`-   / kldawkins@napier.waterloo.edu    /    /7 
`------------------------------'`---------------------------------'    //  NZ!
"Don't call me God. Call me Pope so I have something to aspire to."    '
From: david@elwood.NoSubdomain.NoDomain (David Johnson)
Newsgroups: rec.music.classical
Subject: Re: Bruckner (was: Re: Best finale)
Date: 4 Jan 93 21:55:42 GMT

In article <Jan.3.18.02.15.1993.16049@math.rutgers.edu>,
bwalsh@math.rutgers.edu (Bertram Walsh) writes:
|> >"Imagine that you're walking in the Alps.  You look up at a majestic,
|> >snow-covered mountain.  That is Mahler.  Then you look down at the
|> >wild flowers growing at your feet.  That is Bruckner."
|> 
|> Exactly backward, except that the flowers are cultivated.
|> 
|> Bertram Walsh  Mathematics Dep't  Rutgers University New Brunswick NJ 08903

I am not a Bruckner basher but I cannot see, regardless of the degree
one's imagination is stretched, how one can perceive that
Bruckner is superior to Mahler.  I consider some of Mahler's works
some of the best even written for their respective genre.  I cannot
say the same for anything Bruckner has written.  I do not hate
Bruckner but I love Mahler's works.

-- 
David Johnson
XLNT Designs, Inc. (XDI)
david@xlnt.com
Xref: sparky rec.music.classical:19610 rec.music.marketplace:2871 rec.arts.theatre:3703
From: sfue5@syma.sussex.ac.uk (Andrew Richards)
Newsgroups: rec.music.classical,rec.music.marketplace,rec.arts.theatre
Subject: TOSCA with Domingo on Channel 4 - HELP!!
Date: 4 Jan 93 10:37:27 GMT
Distribution: uk
Organization: University of Sussex


Can anyone help me?

For the second time, I managed to miss the Domingo "live" version of
Tosca was on TV last Wednesday. When it was shown live last year I was
away and our video recorder failed due to a power cut, and last week I
couldn't get back in time to put it on because I was stuck away from
home visiting relatives (don't you just *love* Christmas?)  :-(

Anyway, has anyone videoed it? If anyone has got a copy and could do me
one (or doesn't mind entrusting me with their original so that I can
make a copy) then I would be eternally grateful! Obviously I will pay
all costs etc.

Thanks in advance

Andrew.


sfue5@syma.sussex.ac.uk
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: WoO!
Organization: University of Western Ontario
Date: Mon, 11 Jan 1993 22:12:34 GMT

The WoO you occasionally see with Beethoven is not a cataloguing system. 
It stands for "Werke ohne Opuszahl," which means "Work without opus 
number." It's often seen for very early works.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Saint-Saens' Organ Symphony
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Tue, 5 Jan 1993 17:50:41 GMT

blom@husc15.harvard.edu writes:
: Does anyone have any (preferably DDD) CD recordings of Saint-Saens' Organ
: Symphony (No. 3) to recommend?  I'm not a regular here, but I think I remember
: some discussion a while back.  Sorry if this question is too commonly asked.

BPO/Levine. DG.
--
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,rec.music.jazz,rec.music.misc
From: lazlo@triton.unm.edu (Lazlo Nibble)
Subject: Re: CARTOON MUSIC! HELP AND A CHALLENGE
Date: Thu, 07 Jan 93 08:54:53 GMT
Organization: Usenet Power Elite: Crush-The-Innocent-Newbies Strike Team

clavazzi@nyx.cs.du.edu (The_Doge) writes:

>> Happy music.  CARTOON music.  I'm sure I recognized these tunes as 
>> background-type music for the 'toons, Warner Bros circa 1930-1940.
> 
> This sounds an awful lot like "The Carl Stallings Project", a collection 
> of *new* recordings of classic Warner Brothers cartoon scores.

The Carl Stalling Project disc collects the *original* recordings from the 
Warner Bros. cartoons during Stallings' tenure at the studio.  The recent 
rerecordings (with the original vocal tracks overlaid) appear on the "Bugs 
Bunny On Broadway" disc, which makes sense in the context of the show 
they're associated with . . . a collection of Bugs Bunny cartoons toured a 
couple of years back and were played with live orchestral accompaniment.

Having said that, I think the music Shari heard was Raymond Scott, not 
Carl Stalling.  Lots of Stalling's better-known musical cues were lifted 
from Scott's repertoire, and there have been a couple of Scott collections 
issued since the release of the Stalling discs . . . one within the last 
couple of months.  In fact, I bet a dollar that the track Shari heard on 
the radio was "Powerhouse".

--
Lazlo (lazlo@triton.unm.edu)
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: There's nothing wrong with Bolero
Organization: Open Software Foundation
Date: Fri, 8 Jan 1993 20:09:08 GMT

r4smith@student.business.uwo.ca (Richard Smith) writes:
| Bolero is a tour-de-force of construction and orchestration and well 

Ahem.  The placement of the trombone and saxophone solos causes an
unwelcome (to these ears) interruption in the monotonic increase of
tension.

The requirement for three extra percussionists in the last 6 measures
(OK, I admit it, bassdrum/tamtam/cymbal can be handled by one player) is
a logistical pain.

| worth paying close attention to. The distasteful remarks are due to the 
| fact that it has been overplayed in the past and has reached "warhorse" 
| status. Musicians (especially those with a musicological bent) have a 
| pathological distaste for warhorses. Just ignore them. Listen and enjoy.

Snare-drummers have a dislike for the feeling in the wrists after 17
minutes.  That's if they haven't suffered muscle spasm and dropped the
sticks by then.

Having got over my carping (and dreading the next Wellesley Symphony
concert), I still enjoy listening to it occasionally.
-- 
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!
Newsgroups: rec.music.classical
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: Re: Gorecki's 3rd Symphony
Organization: The Communications Research Centre
Date: Sun, 10 Jan 93 05:07:39 GMT

In article <1993Jan9.175710.17483@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>atmrjga@vax.oxford.ac.uk writes:
>: In article <C0CEsv.14w@news.cso.uiuc.edu>, erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:
>: > Dale Atems writes

>: 
>: Sorry if this has been asked before, but can anyone tell me the correct
>: pronunciation of this composer's name? Every time I hear it spoken it's
>: pronounced in a different way!
>: So far, I've heard of "Gorekki", "Goretchi", "Goretski" and "Goreski".
>: Any clues?
>
>Well the BBC also used to pronounce Penderecki and Pen-der-evski, so I
>would guess Gor-evski.

The correct (Polish) pronunciation is "Goretski".  Also "Penderetski"
(not "Penderevski").>
-- 
-----------------------------------------------------------------
Ted Grusec - Communications Research Centre, Ottawa, Ont., Canada
Newsgroups: rec.music.classical
From: downs@helios.nevada.edu (Lamont Downs)
Subject: Re: Anybody heard of Gliere?
Organization: UNLV
Distribution: na
Date: Wed, 13 Jan 1993 04:13:04 GMT

In article <hellerS.726873385@batman> hellerS@moravian.edu (sjh) writes:
>From: hellerS@moravian.edu (sjh)
>Subject: Re: Anybody heard of Gliere?
>Date: Tue, 12 Jan 93 16:23:35 EST
>I have a LP of the "full length" Ilya Morametz (sp?) Symphony. Gad, it's a
>long, over blown work. The best thing about it is the cover, showing an
>enourmously fat man on horseback, in full battle armor. Otherwise it's a
>rather longwinded, never-ending story of a symphony...

Try the symphony no. 2 (currently available on Chandos); IMHO a much more
interesting, better-written work.

Lamont Downs
downs@helios.nevada.edu
Organization: University of Illinois at Chicago
Date: Thu, 7 Jan 1993 22:41:31 CST
From: <U60019@uicvm.uic.edu>
Newsgroups: rec.music.classical
Subject: Re: Favourite Organ Work Survey

Well, here's my tuppence:

J.S.Bach: Dorische Toccata & Fuge
          (especially on Ottobeuren's Marienorgel)

Lots of things that are out there - I often get the biggest
thrills from organ pieces I've never heard before!

Volker

===========================================================
Volker Kleinschmidt, University of Illinois at Chicago
u60019@uicvm.uic.edu
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical
Subject: Re: mozart's ignominious deposit
Date: 11 Jan 93 22:33:29 GMT
Followup-To: rec.music.classical
Organization: Univ. of Arizona

In article <18742@fed.FRB.GOV>, m1wrp99@milo.uucp (William R. Palenske)
wrote:
> 
> i've wondered why mozart was buried in a common grave.
> 
   I seem to recall hearing or reading (perhaps even in Robbins-Landon's
"1791: Mozart's Last Year"?) that it was a fairly common thing for people
to be buried in common graves in Vienna at that time (unless they were
quite wealthy) and as such our modern view of this as "a pauper's grave"
is somewhat inaccurate. Anybody care to support or refure that?

> i've also heard / read this story variously about
> mozart or haydn which relates that a phrenologist
> decapitated the corpse of haydn / mozart and that
> the skull is floating about etc.  any truth to this ?
> 
   Haydn's head was stolen - I don't recall the entire story off the
top of my head (HA!) but his head was indeed missing for many years, 
and finally was found/discovered/returned only rather recently, i.e.
in the last 30 years or so - I believe the head was reinterred with
the rest of Haydn's remains at Esterhaza in the 50s (?) or sometime
around there....
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Bruckner (was: Re: Best finale)
Organization: Morgan Stanley & Co., New York, NY
Date: Mon, 11 Jan 1993 16:02:25 GMT

In article <1993Jan10.003911.25033@netcom.com> bryan@netcom.com (Bryan Higgins) writes:
>dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>
>>cb@tamarack13.timbuk (Chris Brewster) writes:
>
>>> in addition to the traditional three, there are Berlioz, Bartok, Berg,
>>> Bruckner, and Boulez.
>
>>BTW you forgot Busoni....
>
>And Britten!

Brian


>-- 
>Bryan Higgins, Berkeley, California  (bryan@netcom.com)


Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Joseph Jongen
Organization: University of Western Ontario
Date: Mon, 4 Jan 1993 14:23:59 GMT

It's Joseph Jongen, with a "J"

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: bcc@tools8teradata.com (Brian Cantin)
Newsgroups: rec.music.classical
Subject: Re: Conductors, interpretations and fluffy nonsense
Date: 11 Jan 93 20:00:52 GMT
Organization: NCR/Teradata Business Unit

In article <1993Jan9.005318.15578@hubcap.clemson.edu>, epohl@hubcap.clemson.edu (A replicant) writes:
|> 
|>    A few questions:
|> 
|>    1)  What (and try to supply me with some objective ideas) 
|>        is the difference between a "bad" or a "weak" conductor
|>        and a "good" or a "strong" conductor?
There are a number of things.  A good conductor will balance the parts of
the orchestra so the that various lines may be heard.  The choice of tempi and variations
of same are up to the conductor and can make a big difference.  Of course, while the
differences are objective (even, in some cases, measurable), the assessment of the quality
of the performance is purely subjective.
|> 
|>    2)  Can a "good" conductor making a strong but unusual  
|>        interpretation of a work come out sounding worse
|>        than a "bad" conductor making a typical interpretation
|>        of the same piece?
The great conductors (Walter, Furtwangler, Reiner, Klemperor, Monteux, Ansermet, Barbirolli)
were always trying to do more with the music.  Sometimes they failed miserably.  The
ordinary kapplemeister, in try to do nothing, has a good chance of success.   
|>   
|>    3)  Why do some recordings get thrown into the bargain bin
|>        at music stores for $3-$9 and others get placed in
|>        a real shelf and are appraised in the $10-$19 range?
There is a very weak correlation between the quality of the performance on a cd and
the price of that cd.  Some bargain cds are priced cheaply because they are older 
recordings and the record company has already received a considerable return on its
intitial investment.  Some are cheap because they employ second or third rank performers.
Whether the performance or the sound is better on a full priced versus a budget cd
has to be considered on a case by case basis.
|>       
|>    Fluffy nonsense:
|> 
|>    1)  Name the recording you think best exemplifies
|>        how an interpretation of a work can really make
|>        a good and noticeable difference.
There is the case of the piece that gets
played to death.  A first rate conductor can lead the orchestra to a performance that 
revitalizes the music.  A good example is Carlos Kleibers Beethoven Fifth.
Ordinarily, the Fifth is my least favorite Beethoven symphony.  The Kleiber performance,
on the other hand, is thrilling.
|> 
|> Thanx. 
|> -- 
|> -----------------------------------------------------------------------------
|> "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--------------------------------------- 
  
Brian Cantin
Newsgroups: rec.music.classical
From: hellerS@moravian.edu (sjh)
Subject: Re: Janacek
Keywords: Glagolytic Mass
Distribution: na
Date: Thu, 7 Jan 93 15:00:15 EST

In <1993Jan6.110115.2677@maths.tcd.ie> bannistr@maths.tcd.ie (Jeff Bannister) writes:

>Anybody any recommendations for recordings of the Glagolytic
>Mass?

>Jeffrey Bannister.

The recent release by Tilson-Thomas, coupled with the Sinfonietta, is quite
good. The Maccarras recording is good too, but I find the soloists seem to
be rather slack with their rhythms. The liner-notes as well as the sound of
the Tilson-Thomas (Sony) are very nice, and better IMHO than the others
I've heard.
From: jmadow@juliet.caltech.edu (Madow, Jessica)
Newsgroups: rec.music.classical
Subject: Re: French Baroque HARPSICHORD Music
Date: 6 Jan 1993 16:47 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: juliet.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    


In article <1993Jan6.094055.19160@news.acns.nwu.edu>
   kelsey@casbah.acns.nwu.edu (chris kelsey) writes:

>Louis isn't as interesting as Francois, but for an economical and pleasant
>introduction:  ....

Francois couldn't hold a torch to Louis Couperin in the unmeasured repertory.
Sheer brilliance there!
Newsgroups: rec.music.classical
From: mikulska@crux.Princeton.EDU (Margaret Mikulska)
Subject: Re: Gorecki's 3rd Symphony
Originator: news@nimaster
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Date: Mon, 11 Jan 1993 19:52:45 GMT

In article <1993Jan9.175710.17483@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>atmrjga@vax.oxford.ac.uk writes:
>: In article <C0CEsv.14w@news.cso.uiuc.edu>, erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:
>: 
>: Sorry if this has been asked before, but can anyone tell me the correct
>: pronunciation of this composer's name? Every time I hear it spoken it's
>: pronounced in a different way!
>: So far, I've heard of "Gorekki", "Goretchi", "Goretski" and "Goreski".
>: Any clues?
>
>Well the BBC also used to pronounce Penderecki and Pen-der-evski, so I
>would guess Gor-evski.

Maybe you are confusing Penderecki with Paderewski.
As for Gorecki, your guess is wrong, I'm afraid.

-Margaret

Newsgroups: rec.music.classical
From: vantomme@ems.music.mcgill.ca (Jason Vantomme)
Subject: Re: Conductors, interpretations and fluffy nonsense
Organization: McGill Research Centre for Intelligent Machines
Date: Sun, 10 Jan 93 18:59:52 GMT


In article <1993Jan9.005318.15578@hubcap.clemson.edu> epohl@hubcap.clemson.edu  
(A replicant) writes: 
>    Fluffy nonsense:
 
>    1)  Name the recording you think best exemplifies
>        how an interpretation of a work can really make
>        a good and noticeable difference.
> 
Listen to Christoph von Dohnanyi's recordings of the Beethoven Symphonies with  
The Cleveland Orchestra sometime.  Now THAT's a difference!!

Jason.