HDTenEightyP/NetNews huggingface dataset:
From: marka@SSD.CSD.HARRIS.COM (Mark Ashley)
Newsgroups: rec.music.classical,rec.arts.dance
Subject: Re: my feelings on Nutcracker...
Date: 9 Apr 92 12:49:42 GMT
Article-I.D.: travis.7789
Followup-To: rec.music.classical
Organization: Harris Computer Systems, Fort Lauderdale, FL

In article <1992Apr8.070957.28176@novell.com> nerone@alessia.dei.unipd.it (Elena Borgatti) writes:
>In article <2033@cypress.UUCP> jql@cypress.com.UUCP (Julie Lewis--Applications) writes:
>>
>>And even if a ballet doesn't have deep meaning, so what?  Ballet is very much
>>art for art's sake.  When ballet is performed by someone competent it is incredibly
>>beautiful to watch.  And being a frustrated dancer and choreographer, I can
>>appreciate the technical skill it requires as well.
>
>I disagree with what you said. Ballet is not only made of technical skillness!
> <more stuff>
> ...but in that ballet he doesn't use technique
>because that wasn't the point. Art is not technique!
>				Elena

To support Elena's argument, I watch ballet regularly and the New York Ballet
does incredible jumps and twirls but they seem detached from what they're
doing. Whereas the Russian companies I've seen, the Kirov and the Bolshoi
Academy recently, have more feeling to it. They seem more dovoted to the
art rather than NY Ballet. Now the ones from the academy: sometimes
their knees were shakey (but they never fell) but I appreciated them more
than NY Ballet. Don't get me wrong, I still watch the NY ballet and the
other major companies that visit.


-------------------------------------------------------------------------
Mark Ashley                        |
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...!uunet!gcx1!marka               |reflect the opinion or policies
                                   |of Harris Corporation.
-------------------------------------------------------------------------
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Mark Ashley                        |
(a Lost Los Angelino)              |DISCLAIMER: The opinions expressed
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-------------------------------------------------------------------------
"Toto, I don't think we're in LALaland anymore"
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Britten
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Sun, 12 Apr 1992 16:51:56 GMT

Thanks very much!  Perhaps if you're interested I'll send you a tape of
NIGHTMAIL.  thanks again.


Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
From: achiang@cygnus.intel.com (Albert Chiang)
Newsgroups: rec.music.classical
Subject: Re: Bruno Walter/Bruckner's 4th
Date: 30 Mar 92 23:24:31 GMT

In article <1992Mar27.125914.7671@iccgcc.decnet.ab.com> lieser@iccgcc.decnet.ab.com (Ed Lieser) writes:
>I'm looking for Bruckner's 4th conducted by Bruno Walter, with the
>Columbia Symphony.  Apparently this was on the CBS label.  I've asked

>tried the one by Vienna Phil. with Haitink and don't like it as well.
>
Hi Ed,


I haven't seen a Walter/Columbia, but I would suggest that you try
Karajan/Berlin on Angel. 



Albert


Albert Chiang                       |       Hate is Contagious....      |
achiang@sedona.intel.com            |       So is a Smile   :)          |
Newsgroups: rec.music.classical
Subject: Mozart and Messiah (was Re: Theme in Handel...]
From: phoogenboom@eagle.wesleyan.edu
Date: 15 Apr 92 21:12:00 EDT
Organization: Wesleyan University

In article <1992Apr14.225323.11108@husc3.harvard.edu>, elkies@ramanujan.harvard.edu (Noam Elkies) writes:
> In article <1992Apr14.200619.26812@athena.cas.vanderbilt.edu>
> rickertj@athena.cas.vanderbilt.edu.UUCP (John Rickert) writes:
> 
>>   In Handel's _Messiah_ the theme in the chorus "And with His stripes
>>we are healed" is the same as one of the subjects in the "Kyrie" of the
>>Mozart _Requiem_.  Is it known for certain whether Mozart was deliberately
>>quoting Handel, or did he just coincidentally use the same theme?
> 
> Unless Mozart explicitly said or wrote that he was quoting Handel there
> is no way to be sure.  That Mozart knew _Messiah_ is certain --- he even
> reorchestrated some of it! --- but that's not enough, because the

		ALL.

Peter Hoogenboom
phoogenb@ucs.indiana.edu
phoogenb@iubacs.bitnet
From: dre@ember.Eng.Sun.COM (David R. Emberson)
Newsgroups: rec.music.classical
Subject: Re: Info requested on Theremin
Summary: Check out the soundtrack to "The Day the Earth Stood Still."
Date: 6 Apr 92 17:50:12 GMT
Article-I.D.: appserv.ku13qkINNddl
Organization: Sun Microsystems Inc., Mountain View, CA, USA
NNTP-Posting-Host: ember


I built one of these years ago from a kit from Southwest Technical Products
(that should bring back a few memories!).  The Theremin is probably the
first electronic instrument.  It consists of two antennae--one for each hand
of the player.  Placing your hands closer to the antennae increases the
capacitance.  One variable "capacitor" is used to control a variable
oscillator for pitch.  The other is used to control volume.  The "instrument-
alist" has to make some amusing contortions to play a tune.

Sound tracks from '50s sci-fi films are probably the most notable Theremin
literature.

			Dave Emberson (dre@sun.com)
Newsgroups: rec.music.classical
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: Cor ANGLIAS or ANGL'E
In-reply-to: fredg@escc.com's message of 5 Apr 92 16:58:24 GMT
Organization: pubs
	<1992Mar26.122556.28569@unx.sas.com>
Date: 7 Apr 92 11:02:14 CDT


I have a question, which may have been already answered by implication, but
I need it spelled out: how are oboe, English horn, and bassoon related?  Is
any of these a bigger or smaller version of another (analogous to cornet
and baritone horn) or is there more to the difference than size?

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Re: _The Love for Three Oranges_
Date: 15 Apr 92 14:20:58 GMT
Organization: University of Delaware

In article <1992Apr13.190027.595@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:

>Now: "Crazy Like a Fox": there's an obvious one, and a tougher one
>(connected to the Broadway theater).  Can anyone get both?

Both John Rubinstein, right?  The familial connection to Artur, and his
own history as a stage actor which includes creating the title role in
Stephen Schwartz's PIPPIN (1972).  For that matter, he's composed a
number of tv and movie scores himself.  And if you want a "classical"
music connection, he spent some time (during which I saw him) in the
Broadway production of M. BUTTERFLY, with the obvious Puccini
connection.

Jon Alan Conrad
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Recording of Kodaly Missa Brevis?
Date: 7 Apr 92 14:07:23 GMT
Organization: Oxford University VAXcluster

In article <719@caritas.cotdazr.org>, zaft@caritas.cotdazr.org (Gordon C. Zaft) writes:
> 
> 	Can anyone recommend a good recording of the Kodaly Missa Brevis?
> 
> 
> -- 
> * Gordon Zaft     Argus Consulting    727 W. 5th St.  Oxnard, CA  93030-6955
> * zaft@caritas.cotdazr.org | zaft@caritas.UUCP | suned1!gcpacix!caritas!zaft
>        I'm a .signature virus!  Join the fun and copy me into yours!
>                  Semper fidelis Christi et Vicarii sui.

Try /Kodaly conducts Kodaly/ on EMI. A 2 CD set with Psalmus Hungaricus and the
Budavari Te Deum. It dates from the 50s, so the sound quailty is pretty poor,
but that's more than made up for by the intensity of the performance,
particularly the delicious Slavonic tenor sound.

Stephen Wilcox
wilcox@uk.ac.ox.maths INTERNET: wilcox@maths.ox.ac.uk
Newsgroups: rec.music.classical
From: lacesso@cs.UAlberta.CA (Winslowe Lacesso)
Subject: What in tarnation is "Vivace" in 3/2 time?
Organization: University of Alberta, Edmonton, Canada
Date: Wed, 15 Apr 1992 17:24:29 GMT

92-04-15 (mercoledi)

Buon giorno, folks!

A q for the musician types, if they'd be so kind:

Recently ran across some suites (didn't have $ to pcopy, & don't recall
composer - probably some obscure Baroque dude) of which some mvmts were
marked "Vivace" but in 3/2 time. Lots of half notes, so I was willing to go
with half note = 160 or higher. They were nice tunes (jigs/gigues), but I 
was frustrated & puzzled. I don't really like reading 3/2; if it is to be
"Vivace" at a jig pace, why wouldn't it be written as 3/4 or 3/8 (or 6/8) or
something? Real question: how does one interpret a Vivace in 3/2 time? I have
a suspicion that 1/2 = 160 is unusual enough that I'm interpreting something
wrongly. No, I don't have a music teacher to ask. (Have asked former music
teacher via letter & gotten no reply. Perhaps I should've included some $$.)

thanks, eh -
W

Secretary of transport: recorder of out-of-body experiences. (G & M 92-04-04)
Newsgroups: rec.music.classical
Subject: Theme in Handel, Mozart, Bach.
From: phoogenboom@eagle.wesleyan.edu
Date: 15 Apr 92 14:26:26 EDT
Organization: Wesleyan University

In article <1992Apr14.200619.26812@athena.cas.vanderbilt.edu>, rickertj@athena.cas.vanderbilt.edu (John Rickert) writes:
> 
>    In Handel's _Messiah_ the theme in the chorus "And with His stripes
> we are healed" is the same as one of the subjects in the "Kyrie" of the
> Mozart _Requiem_.  Is it known for certain whether Mozart was deliberately
> quoting Handel, or did he just coincidentally use the same theme?
> 

It is known that Mozart did an orchestration of Messiah so he must have known
the theme to "All we..."  Whether he recognized the fact that he was quoting it
or did it absentmindedly is anyone's guess.  The theme of the 20th fugue in Book
II of the Well Tempered Clavier also starts with the same four intervals, but
the rest of the theme is not as similar to either of the other two as they are
to each other. 
> 
> John Rickert					Mentem mortalia tangunt.
> rickertj@athena.cas.vanderbilt.edu			-- Vergil


Peter Hoogenboom
phoogenb@ucs.indiana.edu
From: vance@speech.sri.com (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 8 Apr 92 16:51:50 GMT
Organization: Speech recognition group, SRI
In-reply-to: wilcox@vax.oxford.ac.uk's message of 7 Apr 92 10:39:54 GMT


In article <1992Apr7.113956.5324@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:

   Someone has just asked what government has to do with good
   classical radio.  This is not meant to be a reply to the very good
   arguments put forward in that post.

Could have fooled me.

   In Britain, we have a very different political culture to that
   which pertains in the US, as I understand it. We believe that some
   things: education, the health of the population, the culture of the
   country are just too important to be left to the vagaries and whims
   of free marketeers acting out of self-interest.

I think the analogy to health care is unsound.  Education, maybe; but
I would say the culture of a country is too important to be left to
the impositions of the people in power.

   So, even among those few people who
   can afford private education, private health care and tickets to
   unsubsidised opera (for example), the issues of public funding for
   education, health and the arts are very important. As I perceive
   it, these are not issues on the same scale in the US.  I apologise
   if I am wrong.

Leaving aside the issues of health and education, it is precisely
because I *do* care about the arts that I can't see the logic of the
government supporting them.

   Let government do its duty and support the
   nation's culture! Without it, the arts will remain the preserve of
   the middle classes and the well-off.

Um, I hadn't noticed that blues and jazz sprang from the middle
classes and the well-off, Stephen.  It is precisely this narrowness of
the institutionalized notion of The Arts that I'm complaining about.
The proposition "The government should support the nation's culture"
sounds wonderful, but it unfortunately entails the government's
deciding what the nation's culture is.  Is opera the culture of
Brixton?  You tell me.

If the government could do something to make the public media
accessible to minority cultural activity, including "classical music",
of whatever sort, that would be great.  I think the growth of
broadcasting technology will bring more and more video and audio
channels into the home, and that will help, but it's not the whole
solution.

	Vance
Newsgroups: rec.music.classical
From: mr804321@cs.nthu.edu.tw (mr80)
Subject: Sibelius Violin Concerto
Organization: National Tsing Hua University (HsinChu)
Date: Tue, 7 Apr 1992 02:07:18 GMT

  I like Sibelius violin concerto and I wonder why
Tchaikovsky violin is one of the 4 greatest violin concertos.
I use Sibelus violin concerto to replace it.
                                        Wen.
From: bryan@netcom.com (Bryan Higgins)
Subject: Villa-Lobos used in what movie?
Date: Wed, 15 Apr 92 07:51:39 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 


I heard Villa-Lobos's _Bachiana Brasiliera_ for soprano on the radio the
other day and realized I'd heard it before in a foreign film.  Trouble is,
I can't remember which film and it's driving me nuts.  Help!
-- 
Bryan Higgins, Berkeley, California  (bryan@netcom.com)
From: newjack@caen.engin.umich.edu (Kyong Soo Lee)
Newsgroups: rec.music.classical
Subject: Re: Is that all for Bizet ?
Date: 31 Mar 92 18:15:31 GMT
Distribution: international
Organization: University of Michigan Engineering, Ann Arbor

In article <92091.143149E55198@TRMETU.BITNET> <E55198@TRMETU.BITNET> writes:
>Carmen and Suite L'Arlesienne... Do these end up the
>works of this bright composer ? There must be others that
>worth to be heard. Any suggestions??  Thanks in advance.
>
>Alper Ulku.


His symphony in C.
Newsgroups: rec.music.classical
From: frank@rover.uchicago.edu (Frank - Hardware Hacker - Borger)
Subject: Re: The Glory (????) of the Human Voice
News-Software: VAX/VMS VNEWS 1.41    
Reply-To: Frank@rover.uchicago.edu
Organization: Joint Center for Radiation Therapy
Date: Thu, 16 Apr 1992 21:16:00 GMT

In article <1992Apr16.194125.3444@athena.mit.edu>, ridgway@athena.mit.edu (Lee Ridgway) writes...
>Relatedly, does anyone know if "Jonathan and Darlene Edwards" have been
>transferred to CD? ...

	Probably not. There are some notes even a CD can't reproduce!

+---_      Frank R. Borger - Physicist     Internet:  Frank@rover.uchicago.edu
|__|_)  Michael Reese  - Univ. of Chicago  Phone : 312-791-8075 fax : 567-7455
|  | \ _  Center for Radiation Therapy
|     |_)   2929 South Ellis Avenue        Dabbler: Damn, Another Beautiful
      |_)   Chicago, Illinois 60616        Bloody Language Everyone Recommends
Newsgroups: rec.music.classical
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: FCC Deregulation? Re: Sorry State of Classical Radio
In-reply-to: paul@cgh.cgh.com's message of 6 Apr 92 05:09:09 GMT
Organization: pubs
	<1992Mar29.132219.479@cgh.cgh.com>
	<salem.701935471@pangea.Stanford.EDU>
	<1992Apr6.050909.3446@cgh.cgh.com>
Date: 7 Apr 92 11:35:23 CDT

Paul Homchick writes:
   ...
   Anyway, the point is that someone has to pay for classical
   programming.  Who should it be?
   ...
   It seems obvious that NPR stations dump the classical format and take
   up news because it make it easier to raise funds.  With the
   non-commercial stations, advertising isn't the driving force, but
   money is still important.  The classical audience is either too small
   or too poor to support stations that rely on contributions for
   significant portions of their budgets.
   ...

A few loosely related points:

Chicago has *two* commercial classical stations. Though I wouldn't
characterize either as wildly adventurous, both stations have avoided the
Classical Lite format; they're both worth listening to.  Chicago isn't
noted as a high-brow capital.  If two stations can survive on commercials
there, why not in other places?

Minnesota Public Radio, similarly, prospers primarily on a serious
classical format.  Again, why can this happen in one place but not another?

I'd like to view the audience issue from a mathematical standpoint.  Let's
say 1/20 of the public likes blue cars, and 19/20 likes red cars.  Would it
make sense to make only red cars?  Why not paint 1/20 of the cars blue?
It's a given that the audiences for pop, rock, country, MOR, etc. are
bigger than that for classical, but can't a market with 40 FM stations
accommodate *one* classical station?  I believe that Chicago demonstrates
it can.

Another point, concerning intellectual polarization.  This problem is
analogous to the debate over free speech and censorship.  That debate is
always cast as: choose one, Jesse Helms or Robert Mapplethorpe.
Fundamentalists who would burn Catcher in the Rye, or sophomoric
iconoclasts dunking crosses in urine.  Those are the only two positions
you're allowed.  From Paul Homchick's description, it appears that KUSC's
manager and others view classical radio the same way: well, Xenakis is too
much for them, so we'll feed them a steady diet of Eine Kleine Nachtmusik
and the 1812 Overture.  Again, I feel that Chicago shows that there is a
worthwhile middle ground that can find a loyal audience of reasonable size.

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7
Newsgroups: rec.music.classical
From: hhuang@m4-035-15.MIT.EDU (Han-Young Huang)
Subject: Brahms performances
Organization: Massachusetts Institute of Technology
Date: Sat, 11 Apr 1992 04:28:56 GMT


I admit to being a lover of Brahms, especially his 1st and 3rd symphonies and
1st piano concerto.  I think both Curzon/Szell and Serkin/Szell are almost
adequate for the concerto.  Are there others with the same aggressiveness?
I've been hanging with Walter/CSO for the 3rd, but are there performances with
more orchestral power?  I really like Furtwangler/1952, and I've been through
Klemperer, Toscanini (his Philharmonia is better than his NBC), and heard
Karajan/1977 once but can't remember it.  Are there great performances in
modern sound?  Admittedly, it helps to hear the details with a Brahms
orchestral piece.  Are there other powerful Sibelius' 5ths besides Karajan,
Rattle (didn't like it that much), Bernstein/NYP, Davis/BSO?  How about besides
Karajan, Beecham (eh), Ashkenazy, Rattle (eh), for a really craggy, unforgiving
7th?  And for an ecstatic, mysterious 6th, besides Karajan (older analog one is
better, I think), Ashkenazy, Jarvi?
From: jpb@calmasd.Prime.COM (Jan Bielawski)
Newsgroups: rec.music.classical
Subject: Re: music from movie Solaris
Date: 14 Apr 92 18:15:39 GMT
Distribution: usa
Organization: Computervision, San Diego, CA

daveshao@leland.stanford.edu (David Shao) writes:

<Could someone tell me what was the opening music for Tarkovsky's
<science fiction movie Solaris?  I think the music
<was written by Bach.  

It's Bach's choral prelude in f minor from the Orgelbuchlein,
"Ich ruf' zu dir, Herr Jesu Christ," BWV 639.

<Tarkovsky eventually immigrated from the Soviet Union to the West.
<There are several versions of Solaris with subtitles or voiceovers
<in English, none of them being the original movie in  its entirety.

	Actually, it's been just recently released as a very high quality
two-cassette VHS set (sorry, no laser), in widescreen (letterbox).  It
looks very complete to me and the color balance and sharpness are first rate.
The current print (made last year) is complete, I think.

	Tarkovski used another prelude from the same set, "Das alte Jahr
vergangen ist," BWV 614, for "Mirror" -- his best movie, IMHO.  It still
awaits a decent video release.  The theatrical prints in circulation
are screwed up (too dark).

	Jan Bielawski
	Computervision R&D, San Diego
	jpb@calmasd.prime.com
From: leifko@ifi.uio.no (Leif John Korshavn)
Newsgroups: rec.music.classical
Subject: ignore
Date: 9 Apr 92 12:05:15 GMT
Organization: Dept. of Informatics, University of Oslo, Norway
Originator: leifko@kolsaas.ifi.uio.no


ignore this
From: v123ptyu@ubvmsb.cc.buffalo.edu (Sungwoo Kim)
Newsgroups: rec.music.classical
Subject: Re: SHUBERT
Date: 14 Apr 92 15:09:00 GMT
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41

In article <1992Apr14.050048.548@Princeton.EDU>, roger@phoenix.Princeton.EDU (Roger Lustig) writes...
>In article <1992Apr13.203717.649@acsu.buffalo.edu>
> v123ptyu@ubvmsb.cc.buffalo.edu (Sungwoo Kim) writes:
> 
>>	I just wanted to ask any who remembers of 
>>	Shubert's very first musical piece.
>>	It's theme, if I remember correctly, was
>>	something to deal with Evil dark force.
> 
>You're probably thinking of the song _Erlkoenig_, Op. 1.
> 
>This is not Schubert's first piece by any means, however, just his first
>publication.  In the chronological list of his works (including
>fragments), it's no. 328, and, yes, he was 18 years old.  He had already
>written the astonishing "Gretchen am Spinnrade" a year before, as well
>as many other songs, operas, and instrumental music.  
> 
>Roger
>Z

Thanks for reminding me of that piece.  I was looking for his very first
publication.  I can finally include that piece for my collection.
Thanks again.
Newsgroups: rec.music.classical
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: Recordings of Milhaud string quartets?
In-reply-to: irikura@enh.nist.gov's message of 5 Apr 92 03:04:38 GMT
Organization: pubs
Date: 6 Apr 92 11:03:22 CDT

Karl Irikura writes:

   Does anyone know of available recordings of any of Milhaud's string 
   quartets?  I'm especially interested in #8.  (So far I haven't been
   able to find any.)

These were all recorded on Cybelia, but I don't know if they're still in
print.

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7

Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: government and the arts
Organization: Educational Computing Network
Distribution: na
Date: Thu, 16 Apr 1992 16:21:01 GMT

In article <1992Apr16.124723.3133@unx.sas.com> sasghm@theseus.unx.sas.com (Gary Merrill) writes:
>|> The Chicago Symphony wouldn't be able to go to the toilet between their
>|> Mozart performances if they didn't get subsidized.  Grant, I am sure
>
>The content of your position is simply this:  If we didn't subsidize
>symphonies, then there wouldn't be subsidized symphonies.  True, but
>not particularly enlightening.

Most people tend to think the Chicago Symphony is a good thing.

>... where it appears "more enlightened" means simply that they subsidize
>the arts.

you bet.

>(Once again, need I point out that such a response comes from someone whose
>machine name ends in ".edu"?)

so what


jeff

Newsgroups: rec.music.classical