HDTenEightyP/NetNews huggingface dataset:
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Re: Easy quiz answers required
Date: 12 Jan 93 18:16:09 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

ebroom@axion.bt.co.uk wrote:
> Could anybody out there help me out with the following questions:
> 1. The composer Philip Heseltine is better known as...?
> 2. Which composer died from a self-inflicted injury sustained
>    while conducting?
> 3. Which opera ends with nuns being guillotined?
> 4. Who wrote three operas involving Elizabeth I?

5. What proportion of the proceeds do we get if you win?

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.music.classical
From: sowhat@gphs.vuw.ac.nz (Christian Zick)
Subject: Re: Define "Well Tempered"
Organization: Institute of Geophysics, Victoria University of Wellington, NZ
Date: Tue, 12 Jan 1993 23:32:24 GMT

In article <5170027@hpindda.cup.hp.com>, tomm@hpindda.cup.hp.com (Tom McNeal) writes:
> Does anyone know the difference between 'well-tempered' and 'equal-tempered'
> tuning on a piano?  All I know is that 'equal-tempered' is the current 
> tuning style, and has been for some time, and that Bach used 'well-tempered'
> tuning (Oho, you say, THATS what "Well-tempered Clavier" meant.)
> 

I recently collected some contributions on the subject from COMP.MULTIMEDIA.
here it is:

Article: 4494 of comp.multimedia
Newsgroups: comp.multimedia
Subject: Re: Fundamental Frequencies of Musical Notes
From: dik@cwi.nl (Dik T. Winter)
Date: 3 Jan 93 23:02:19 GMT
Organization: CWI, Amsterdam

In article <1i50piINNl3s@golem.wcc.govt.nz> ngan_m@kosmos.wcc.govt.nz writes:
 > In article <1993Jan1.104912.46019@kuhub.cc.ukans.edu>, rsl11@kuhub.cc.ukans.edu writes:
 > >    I would like to know what the fundamental frequencies of the musica
 > >notes are if someone is aware of them. Tha is what frequencies do they
 > >correspond to the notes
 > >
 > >C, D, E, F, G, A, B, C
 > >
 > The frequency of A above middle C is 440hz, semitone is a factor of 2^(1/12)  > higher/lower, so A# is about 466.1638 hz and G# is about 415.3047hz. 
 > As there are 12 semitones in an octave, the A in the octave above is 880hz.
 > 
Alas, this is only a very small part of the story.  It entirely depends on
the kind of music you want to play!

The frequency of A' at 440 is currently indeed standard, but for older music
you would like to have a lower pitch.  In 1858 A' was standardized at 435 Hz;
put a bit higher after the second world war.  Before 1858 there were different
pitches in use (excuse the English, it is only a translation): Chamber pitch
(C ~ current B), Choral pitch (C ~ current C#) and Cornet pitch (C ~ D).

Further, the relative frequencies as given above are first used by Bach in
his 'Wohltemperiertes Klavier'.  Currently keyboard instruments generally
use these (except for the carillon).  An older list of relative frequencies is:
        C   D   E   F   G   A   B   C
        24  27  30  32  36  40  45  48
(multiply by 110 to get the current pitch).  This can be found from the
chord do-mi-sol: 4:5:6, which gives C:E:G = 24:30:36 amongst others.  By
extension median tones are found but the frequency you find depends on the
way you look for it!  Other methods are the Pythagorean one, methods by
Kirnberger, Euler, Huygens, Mercator and Haba amongst others.  When playing
old music you are well advised to learn the method used by the composer.
-- 
dik t. winter, cwi, kruislaan 413, 1098 sj  amsterdam, nederland
--More--(34%)
home: bovenover 215, 1025 jn  amsterdam, nederland; e-mail: dik@cwi.nl


Article: 4495 of comp.multimedia
Newsgroups: comp.multimedia
Subject: Re: Fundamental Frequencies of Musical Notes
From: alves@calvin.usc.edu (William Alves)
Date: 3 Jan 1993 18:21:19 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <8515@charon.cwi.nl> dik@cwi.nl (Dik T. Winter) writes:

>The frequency of A' at 440 is currently indeed standard, but for older music
>you would like to have a lower pitch.

It is a myth that absolute pitch has been getting gradually higher since the
baroque. See Arthur Mendel's comprehensive look at absolute pitch in Acta
Musicologica. At least in the baroque pitch references were local at best,
and though there were the different pitches for choir and instruments in
many areas (usually referred to, even by English-speakers, as chorton and
kammerton - there's also so-called tief-kammerton in some areas), there
was no ONE chorton or ONE kammerton. Each varied by as much as a major third
one way or the other from place to place.

>Further, the relative frequencies as given above are first used by Bach in
>his 'Wohltemperiertes Klavier'.

First of all, it is another myth that Bach used equal temperament. While we
don't have any direct evidence exactly what tuning system he used, his son
Emanuel said in a letter to Kirnberger specifically that J.S. Bach did NOT
use equal temperament. It is likely that he preferred one of the many so-
called "good" or "well" temperaments in which all keys are playable, but
the more common keys are somewhat more consonant. After all, it is the
"well" tempered, not "equal" tempered klavier.

Secondly, equal temperament had been recognized long before Bach's day. The
theoretical possibility of it had been alluded to by Aristoxeneus, and
by at least the 17th century, several people had written about it. It isn't
that equal temperament was unknown until the 18th century, just that compo-
sers made a deliberate decision to use something else. In particular, they
don't seem to have liked the relatively out-of-tune thirds (in relation to
pure 5/4 and 6/5 thirds).

> An older list of relative frequencies is:
>       C   D   E   F   G   A   B   C
>       24  27  30  32  36  40  45  48

This is called a "just" tuning system because the frequency ratios are
represented by relatively small numbers. I suppose one could make a case
for it being "older" than equal temperament in the sense that we have
evidence for just tuning systems going back to Sumeria, but many other
tuning systems were more widely used in European music: mean-tone
temperaments, "good" temperaments, "circular" temperaments, and equal
temperament were apparently more popular, though at different times.

This is not to say that I have anything against just intonation, quite
the contrary. I use just intonation in my own composition. Sythesizers
and computers allow one to adopt just intonation without having to build
my own instruments. I'm even a member of the Just Intonation Network (email
me for more information about the JIN).

Bill Alves


Article: 4496 of comp.multimedia
Newsgroups: comp.multimedia
Subject: Re: Fundamental Frequencies of Musical Notes
From: 00gwmichelin@leo.bsuvc.bsu.edu
Date: 4 Jan 93 02:15:20 GMT
Organization: Ball State University, Muncie, In - Univ. Computing Svc's

In article <1993Jan1.104912.46019@kuhub.cc.ukans.edu>, rsl11@kuhub.cc.ukans.edu writes:
> Hello there,
> 
>       I would like to know what the fundamental frequencies of the musica
> notes are if someone is aware of them. Tha is what frequencies do they
> correspond to the notes
> 
> do, re, mi, fa, sol, la, si, do.
> or
> C, D, E, F, G, A, B, C

Beginning at middle C
C       261.63
D       293.66
E       329.63
F       349.23
G       392.00
A       440.00
B       493.88
C       523.25

source:
        The Recording Studio Handbook by John M. Woram

> 
>       I would appreciate any relevant response.
> 
> Internet Address:christos@kuhub.cc.ukans.edu


Newsgroups: rec.music.classical
From: rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy)
Subject: Re: Looking for D. Oistrakh CDs
Reply-To: rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy)
Organization: Columbia University
Date: Fri, 8 Jan 1993 17:04:39 GMT

I have a recording of Oistrakh playing Brahms Violin concert
(conducted by Klemperer).  I saw a few weeks ago at Tower records a
recording  of the same piece by Oistrakh but conducted by Rostropovich
(I am not too sure about the conductor).


Ravi
Newsgroups: rec.music.classical
From: bmtong@cs.cuhk.hk (Tong Bo-Ming)
Subject: Re: Messiah "Amen" and tympani
Organization: Faculty of Engineering, The Chinese U. of Hong Kong
Date: Mon, 4 Jan 1993 05:57:35 GMT

packer@amarna.gsfc.nasa.gov (Charles Packer) writes:

>In the Colin Davis recording of Handel's "Messiah"
>the final "amen" is "spelled out" by the typamni.
>In Robert Shaw's recording, the tympani play only
>a roll on the last syllable. Which way is "right"?

What do you mean by "spell out" ? I did not hear that recording.
I guess the last amen (I don't remember) should be a plagal cadence,
right ?  Then it should be G and D.

I just wants to mention that in Handel's time, only 2 timpani are
used.  They are ALWAYS tuned to the tonic and the dominant (i.e. D
and A, A is lower than D).  If you hear any other note produced,
then it should not be by Handel.

Even Beethoven used only 2 timpani.  However, he tuned them
differently.  (e.g. D and another D an octave higher in the 2nd mvt.
of the 9th Symphony).

					Tong Bo-Ming
Newsgroups: rec.music.classical
From: kelsey@casbah.acns.nwu.edu (chris kelsey)
Subject: Re: Tower Records
Organization: Northwestern University, Evanston Illinois.
Distribution: usa
Date: Fri, 8 Jan 1993 07:27:59 GMT

In article <1ihjthINNju5@menudo.uh.edu> chem91@Elroy.UH.EDU writes:
>
>Greetings...   To all those interested, I *believe* that the Tower Records
>sale begins on the 8th and ends on the 12th of this month.  There are 
>savings on all discs, but just how much I don't know... 


hate to disappoint y'all, but...  tower's "blow-out" this year is merely
their regular sale prices, but all labels at once.  and if your local tower
is like the one in chicago, they spent the month of december marking *UP*
most of the premium disks by $1 - $2.

however, classical music *books* are 30% off.  now, if crown or b. dalton or
barnes & noble would only carry cd's... ;)

-- cgk
.
Newsgroups: rec.music.classical
From: pawel@tethys.ph.albany.edu
Subject: Re: Classic CD Magazine: any satisfied customers?
Reply-To: pawel@tethys.ph.albany.edu
Organization: SUNYA School of Public Health, Albany, NY
Date: Wed, 6 Jan 93 21:30:15 GMT

In article <1993Jan6.201841.27048@ll.mit.edu>, black@ll.mit.edu (Jerry Glomph Black) writes:
>I paid $59.95 for a subscription about a year ago, have received 4 complete
>issues.  I DID get a form letter from the US distributor that the've had
>a lot of complaints like this, so it must be the US Post Office's fault!
>
>I wrote to the ClassicCD office and told them what I thought of this notion...
>
>What a crock.... 
>The (produced in England) Magazine is excellent, but expensive at $15./copy!
>
>Any other experiences out there?

  My experience with Classic CD is quite long.  I subscribed over
two years ago, I received first few issues and ...  the journal
was discontinued.  After one year I received polite letter from
Phoenix Publ. stating that they are going to continue publication
and they will pick up my subscription.  They began to send me
the magazine, but in the meantime I moved and couple of issues were
somehow lost.  After awhile I received one, but the CD was broken !
I called them and quite promptly they send me replacement plus
3 issues which were lost.

  This whole story discouraged me and I didn't renew my subscription.
In addition I decided that instead of reading ClassicCD I will be better
off buing one more CD per month. I agree that magazine is good,
but for me is not worth the money and effort to get it.

                                                Paul Penczek

Xref: sparky rec.music.classical:19901 ny.general:525
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical,ny.general
Subject: Re: Pittsburgh Symphony Wins New York Times Award
Date: 8 Jan 93 05:34:53 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <C0I2IB.75M@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
[In response to my post that the report I got from my Met friend about the
Pittsburgh Fidelio was from the papers and not his personal opinion:]

>No, we got that.  The point is that his report was apparently shaped by
>his personal opinion -- i.e., what he *wanted* to be true.  People (me
>included) are wonderfully capable of picking out the one negative
>sentence in a favorable review, if that's what they'd like to believe.
>
>Jon Alan Conrad

I appreciate the tact in your comment (and should probably use it as a
lesson for myself :-), and it is possible that you are right.

In the meantime, however, I checked with a friend of mine who works for the
*Pittsburgh* symphony, and she *also* said the Pittsburgh Fidelio was
panned in NYC.  So, let me just officially change my source to her and we
can end this speculation about my other friend's character.  Thanks.

-chris
From: casseres@apple.com (David Casseres)
Newsgroups: rec.music.classical
Subject: Re: So exactly what's wrong with Bolero, anyway?
Date: 11 Jan 93 22:40:23 GMT
Followup-To: rec.music.classical
Organization: Apple Computer Inc.

In article <43192@sdcc12.ucsd.edu>, chen@cs.ucsd.edu (Jim Ron Chen) wrote:
> 
> Glad to see a posting on "what's right" instead of "what's wrong"!
> One delightful use of the piece is in the animated Italian film 
> "Allegro Non Troppo", if anyone hasn't seen it.

Also, it's wonderful music for getting it on with Bo Derek...

--

David Casseres
Exclaimer: Hey!
Newsgroups: rec.music.classical
From: strong@tc.fluke.COM (Norm Strong)
Subject: Re: Favourite Organ Work Survey
Organization: John Fluke Mfg. Co., Inc., Everett, WA
Date: Wed, 6 Jan 1993 18:29:29 GMT

In article <1993Jan4.165916.5375@athena.mit.edu> ridgway@athena.mit.edu (Lee Ridgway) writes:
}Speaking as an organist, my favorite pieces to listen to and play are the six
}trio sonatas of J. S. Bach. Out of those, my favorites are Nos. 1, 4, 5.

If I had to assemble a single CD with my favorite organ music, it would
contain:

By Bach:
 Toccata & Fugue in d
 Passacaglia & Fugue in c
 Fantasia & Fugue in g
 Toccata, Adagio & Fugue in C
and by Franck:
 Chorale in a


-- 

Norm Strong  (strong@tc.fluke.com)
2528 31st S.   Seattle WA 98144   USA
Xref: sparky rec.music.classical:19612 rec.music.christian:9840
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: N. American Choral Concerts Jan. 15 - 31 (Chanticleer)
Date: 9 Jan 93 20:41:48 GMT
Organization: Digital Systems Co., Atlanta GA

CHANTICLEER : 1993 Tour concerts, Jan. 15 - 31

(Concert times and telephone numbers were not provided.)

January 25 : Houston, Texas
	Palmer Memorial Episcopal Church

January 28 : Little Rock, Arkansas
	University of Arkansas

January 29 : Fayetteville, Arkansas
	Walton Arts Center

=====
The above is posted as a public informational service by
Yours Truly and "Chorus!"
=====
--Mark Gresham	dscatl!mgresham@gatech.edu
"Chorus!"	dscatl!chorus@gatech.edu
=====
Newsgroups: rec.music.classical
Subject: Re: Best CD of Mussorgsky "Pictures ..."
From: blom@husc16.harvard.edu
Date: 6 Jan 93 16:01:32 EST
Distribution: na
Organization: Harvard University Science Center

In article <1993Jan5.224640.11978@cs.brown.edu>, omh@cs.brown.edu (Owen M. Hartnett) writes:
> In article <1993Jan5.221536.5229@colorado.edu> judd@wilkinson.cs.colorado.edu (Stephen Judd) writes:
>>In article <1993Jan5.215131.2986@bme.ri.ccf.org> christoj@bme.ri.ccf.org (Judy Christopher) writes:
>>>Please help - I need to get for my husband the absolute best CD of
>>>Pictures at an Exhibition (Ravel).  What do you recommend?
>>>
>>>Ciao, Judy
>>>
>>>
>>
>>Telarc.  One of the first CD's manufactured.  Lorin Maazel, Cleveland
>>Symphony Orchestra, if memory serves :-).
>>
>>If you can find a Russian recording, (or better yet, a Russian pianist
>>playing the original), you might consider it as well.
> 
> 
> I really love the old recording of Horowitz doing this, from a live
> concert, I believe.  There's a sincere sense of pianistic wild
> abandonment in it.  Don't know if it's been re-released on CD, but it's
> certainly interesting.
> 
> -Owen
> .
> 
> Owen Hartnett				omh@cs.brown.edu
> "FAITH, n. Belief without evidence in what is told by one who speaks
> 		without knowledge, of things without parallel."
> 			-Ambrose Bierce - The Devil's Dictionary

Yes.  I have the CD at home, and I really love it.  Your husband may prefer the
Ravel Orchestration, though.  The piano version is not as colorful, even if it
is more difficult and historically interesting.

Eric Blom
Harvard U
From: bcc@tools8teradata.com (Brian Cantin)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's Symphonies
Date: 4 Jan 93 18:32:37 GMT
Organization: NCR/Teradata Business Unit

The Walter set on Sony is excellant.  I got it for $28 bucks when it came out last year.
The performances of the 1st, 2nd, 4th, 6th, 7th, and 8th are competitive with any available.
The 6th and 7th, in particular, are justly famous.  The 3rd and 5th also are quite good (if
competitive with the best).

Only the 9th is a disappointment.  The 9th was recorded in New York while the first 8 were
recorded in LA.  In general, Walter got better performances out of the Columbia Symphony in LA
(LA Philharmonic principles plus studio musicians) than he obtained in New York.

The sound is pretty good.  In fact, the sound is better than it was on the lp set I purchased 
in the 70s.  However, the old lps varied wildly due to variations in the pressings.  I have a
6th, released separately on lp, that has better sound than either the cd or lp sets.
-- 
Brian Cantin
Newsgroups: rec.music.classical
From: mudws@sunvis1.vislab.olemiss.edu (David Warren Steel)
Subject: Re: Louis Couperin
Organization: Mississippi State University
Date: Tue, 12 Jan 1993 20:13:27 GMT

In <basinski-120193110213@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:

>    I beg to differ - don't forget that the origin of the unmeasured
>prelude was from the french baroque lutenists.... Their unmeasured 
>preludes are written in french lute tablature with no barlines and 
>little (if any) rhythmic indications. . . .  I tend to think that 
>Louis Couperin would have published the unmeasured preludes just as 
>they are in the manuscript.
    I agree that the lutenists strongly influenced the clavecinistes,
especially in their preludes, and that Couperin composed them entirely
without note values and circulated them that way among his pupils or
colleagues, as did the lutenists.  We'll never know, since Couperin
died young and published nothing.  Chambonnieres left no preludes at
all, perhaps preferring to improvise them.  But I suspect that, had
Louis Couperin lived to publish his pieces, he might have printed them
without barlines, but with some distinction between harmonic, melodic,
and ornamental notes to aid the uninitiated performer, as in the preludes 
of d'Anglebert (1689), La Guerre (1687) and many others.

Warren Steel                      mudws@sunvis1.vislab.olemiss.edu
University of Mississippi    Department of Music     (601)232-5183
Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: Ravel
Organization: Indiana University
Distribution: na
Date: Wed, 6 Jan 1993 18:07:13 GMT

Someone suggested some piano music of Ravel's played by
Alicia de laRocha(sp?). For a further exposure to Ravel's
brilliance I suggest his "Gaspard de la Nuit", especially
as played by Ivo Pogorelich. Simply awesome!

As for more of Ravel's orchestral compositions, and this time
his own original, try his ballet "Daphnes et Chloe". The version
on London conducted by Dutoit is wonderful
 
I've read some rather nice things about a recent rerelease of
some of Ravel's orchestral pieces conducted by Reiner on the
RCA/BMG label. Does anyone have any nice, or otherwise, opinions
on this reissue?


Sami Mitra
Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: There's nothing wrong with Bolero
Organization: School of Computer Science, Carnegie Mellon
Date: Tue, 12 Jan 1993 18:53:37 GMT

In article <1993Jan12.132733.24089@osf.org> dbrooks@osf.org (David Brooks) writes:
>hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
>| Harold Smoliar
>| English horn, Pittsburgh Symphony
>
>'course, the real reason Harold likes Bolero is it gives him a chance to
>show off that dusty oboe d'amore...
>-- 
>David Brooks					dbrooks@osf.org

No, No, No David--I leave that joy to our principal oboe--there is an
English horn part that needs to be covered.
And our d'amore isn't dusty because my wife seems to play something by
Bach almost every year that needs it.

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Quartet
hsmoliar@db1.speech.cs.cmu.edu
From: chorus@vntic.msk.su (ACADEMIC CHORUS BY S. STROKIN)
Newsgroups: rec.music.classical
Subject: ACADEMIC CHORUS by SERGEY STROKIN  (Russia, Moscow)
Date: Mon, 11 Jan 93 14:58:54 +0200
Distribution: world
Organization: AIST-VNTIC INFORMATION NETWORK. NODE-LOCK.
Reply-To: chorus@vntic.msk.su

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        *         THE TWO TREES OF THE SAME ROOT.           *
        *                              (ROBERT SHAW)        *
        *****************************************************

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            PROPOSES TO ADVERTISE ITS SPONSORS DURING
                    THE CHORAL MUSIC FESTIVALS
            AND DURING OTHER PROFESSIONAL TOURS ABROAD

      ON BECOMING A SPONSOR OF OUR CHORUS YOU'LL ACQUIRE A MOST
RELIABLE BUSINESS PARTNER AND ENJOY THE MOST EFFECTIVE ADVERTISEMENT

                            REMEMBER !

  IT WAS A CUSTOM OF THE RUSSIAN FIRMS IN THE PAST TO USE CHOIRS,
     ORCHESTRAS, OPERA AND DRAMA THEATRES TO ADVERTISE THEIR
            ACTIVITIES AND THE FIRMS WERE PROSPEROUS !

    TO CONSULT ON THE PROBLEMS OF COOPERATION YOU CAN ADDRESS
                        MR. B. TARAKANOV
               OVER THE PHONE (7.095)456.75.31

                    OTHER CONTACT NUMBERS:

                     TELEX: 411901 FRAM SU
                    FAX: (7.095)456.85.93

       ELECTRONIC MAIL IN "AIST-VNTIC"-NETWORK: A020695120

                  E-mail: chorus@vntic.msk.su

                           *******
From: e343mh@tamuts.tamu.edu (Michael Hand)
Newsgroups: rec.music.classical
Subject: Mimaroglu
Date: 6 Jan 1993 23:22:21 GMT
Organization: Texas A&M University, College Station, TX
Distribution: world
NNTP-Posting-Host: tamuts.tamu.edu

Does anyone know whether recordings of Ilhan Mimaroglu's "Wings 
of the Delirious Demon" and "Tract" are still available?  They
were released on Finnadar and Folkways, respectively, in the
70s.  Also, does anyone know what he is up to today?

Finally, is Halim El-Dabh's "Electronic Opera #1" available?
An excerpt entitled "Leiyla and the Poet" was released by the
Columbia-Princeton Electronic Music Center in the 70s.

Thanks.
_____________________________________________________________________
---------------------------------------------------------------------
Michael Hand                    phone (409)845-5660, fax (409)845-0458
Dept of Philosophy, Texas A&M Univ, College Station TX 77843-4237, USA
Newsgroups: rec.music.classical
From: christoj@bme.ri.ccf.org (Judy Christopher)
Subject: Best CD of Mussorgsky "Pictures ..."
Organization: Biomedical Engineering and Applied Therapeutics, CCF
Distribution: na
Date: Tue, 5 Jan 1993 21:51:31 GMT

Please help - I need to get for my husband the absolute best CD of
Pictures at an Exhibition (Ravel).  What do you recommend?

Ciao, Judy


Newsgroups: rec.music.classical