HDTenEightyP/NetNews huggingface dataset:
From: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Subject: Re: A Room With a View Music
Reply-To: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Organization: Columbia University
Date: Mon, 14 Dec 1992 23:47:20 GMT


In article <1992Dec13.012031.6263@seas.smu.edu> pedersen@seas.smu.edu
(Ted Pedersen) writes:

>I was wondering if someone could tell me what opera is featured so
>prominently in the music of the film "A Room With a View"?

The credits are accompanied by Kiri Te Kanawa singing a song from
Puccini's "Gianni Schicchi" called "O Mio Babbino Caro."  

The song is one of the true warhorses of the soprano opera excerpts
repertory, and has been recorded by thirty or forty different
sopranos, so it should be possible to obtain a recording of it without
buying the opera.  "Gianni Schicchi" is the last act of a bundle of
three one-act operas Puccini called "Il Trittico" (The Triptych).  The
other two operas are curiosities, so this may be the route to go.

However, Schicchi is itself a very fine achievement, and well
worth hearing and seeing, and it is only about one record.  I
think it is clearly the best thing Puccini ever did.

Another netter reminds me that some scenes include some of Doretta's
song (Is it "Il SOGNO di Doretta"?) from Puccini's very early opera La
Rondine.  This is a charming number she does with a piano (in a party
scene, I believe).  It's quite clever, although the opera itself has
never flown out of its ashes when revived.  It is another soprano
warhorse and can be readily obtained on soprano opera recital disks.

As I recall, the excellent Anna Moffo did both on a Puccini
disk, and nobody every did these better.  Kiri does them
both in the film soundtrack, and she certainly is wonderful
in them.

Nadine
From: phoogenboom@eagle.wesleyan.edu
Newsgroups: rec.music.classical
Subject: Requium/Requiem
Date: 15 Dec 92 03:47:59 GMT
Organization: Wesleyan University

In article <1992Dec13.210300.21670@sifon.cc.mcgill.ca>, rags@triples.math.mcgill.ca (Robert A. G. Seely) writes:
> 
> BTW - my apologies in typing (repeatedly) "requium" the other day - either
> my brain or my fingers were on strike that day...


I am sure you were misled by the false assertion that the plural form is
"requia"
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Re: Beroff's Prokofiev?
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 16 Dec 92 11:26:10 GMT

In article <9WJVBTW7@cc.swarthmore.edu> abrocke1@cc.swarthmore.edu (Aaron Brockett) writes:
>In article <chomicki.724092596@antares.cis.ksu.edu.cis.ksu.edu>,
>chomicki@cis.ksu.edu (Jan Chomicki) writes:
>> 
>> In the local CD store there is a very attractively priced 2-CD set
>> of all Prokofiev's piano concertos played by Michel Beroff. 
>> I'd appreciate any recommendations for or against getting it.
>> How does it stack against a similar set by Ashkenazy?
>> 
>> While talking about Prokofiev, any recommendations for his violin
>> concertos? I'm familiar with Mullova's recording of the second and
>> I like it very much.

>As for the violin concertos, Kyung Wha Chung gives a maginificent
>performance of them on London. Embarrassingly, I can't remember the
>conductor and I'm only halfway sure that it's the London Symphony Orchestra
>playing. It's offered at midprice, and has a great recording of the
>Stravinsky concerto as well. Great disc!


The conductor is Andre Previn.  I also like this recording for the Prokofiev
but I wouldn't call the Stravinsky "a great recording".  I prefer
Mutter/Sacher, Perlman/Ozawa, and Grumiaux/Bour (in that order).


- Josh



Newsgroups: rec.music.classical
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Subject: Re: NEWS: Pavarotti booed out of the SCALA
Organization: University of Virginia
Date: Fri, 11 Dec 1992 19:42:33 GMT

In article <1992Dec11.162515.27597@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>I have never been extremely impressed with Pavarotti. I became convinced
>several years ago that his really good singing is only when he does it 
>sotto voce. However, in spite of my less than rave review, I think it
>extremely boorish of the audience to behave that way. 
>
>It is quite rude, ill-mannered, swinish, idiotic, and puerile to boo a 
>performer for a slip-up. I wouldn't boo a dancer for falling, I wouldn't 
>boo a pianist for a mangled chord, and I wouldn't boo a singer either. 
>If I think the performance is poor, I don't applaud. If I really can't 
>stand it, I would get up and leave, but only at the next break. 
>
>People in the audience who disrupt a performance, no matter how bad it
>is, are low class imbeciles. It drives me bananas when anyone talks
>during a performance, or shuffles papers, or makes any noise. It shows
>complete disregard for others. If they can't sit quietly, they should
>be told to shutup or leave. If they shout and boo, they should be 
>summarily thrown out.
>

Hear hear!
-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote

Newsgroups: rec.music.classical
From: rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy)
Subject: Dvorak Symphony no 9
Organization: Columbia University
Date: Sat, 12 Dec 1992 00:49:38 GMT



Following is an excerpt from the mail sent by Deryk Barker:

 "According to an article by Ernest Lumpe in a 1990 edition of the
Wilhelm Furtwaengler Society UK newsletter, and reprinted in the 4th
(1992) edition of The Furtwaengler Sound by John Hunt, the Dvorak 9
has been positively identified as a recording made on 14 July 1944, in
Munich, the Munich PO conducted by Oswald Kabasta b 1896 committed
suicide 1946 - apparently on account of his links with the Nazi party.

The individual movement timings are identical, and moreover, the index
card in Bavarian Radio's archives indicates that at the end of the
second movement the bars with the double basses playing divisi are
missing. This is apparently the case both with the ASdisc CD, Relief
CD and LP, and Philips (Japan)  issues.

Other items in the appendix of spurious WF recordings are:

Beethoven
	Symphony No.2 (supposedly BPO 1929) Olympic and
	 Eurodisc LPs, actually the 1929 Polydor Erich Kleiber.
	Symphony No.3, Dresden, Allegro LP and Pickwick CD,
	 probably a Karajan recording of uncertain date.
	Symphony No.8 BPO/1953, MRF, BJR, Melodiya and Discocorp LPs, 
	 Palette CD, actually the c1958 BPO/Cluytens (EMI).
	Coriolan Ov., Hamburg 6/49, Rodolphe CD, actually a
	 performance conducted by Hermann Scherchen.

d'Albert Tiefland ov. unidentified but almost certainly not WF, as
	  there is no record of his ever having conducted it.

Dvorak	Symphony No.9 as discussed.

Glazunov Stepan Razin, VPO, 2/45. As per d'Albert.

Grieg	Piano Concerto, Gieseking, BPO, 1944. Ditto.

Haydn	Symphony No.104. BPO/1944, Melodiya, Discocorp LPs, DG CD (tut
	 tut!) Now established as Munic Radio O coinducted by Alfons
	 Dressel (1900-55).

Mozart	Symphony No.40 VPO 2/49. M&A and ASdisc CDs.
 	Ditto 4th movement, BPO 12/51. Actually from a film soundtrack
	 conducted by Bruno Walter.
	Concerto for 2 pianos K365, Badura-Skoda, VPO 2/51, Discocopr
	 and French Furtwaengler Society LP (even the experts can be
	 fooled occasionally!) actually Badura-Skoda, Gianoli, Vienna
	 State opera, Scherchen (Westminster WL 5095).

Schubert Symphonies 1 & 2. Nippon Columbia LP. As per d'Albert.

Tchaikovsky Pathetique, VPO 10/51. Palette CD.

John's discography is still available, as is the 2nd edition which
includes a survey of WF's performances in the UK from 1929-53 (as I
recall), from John {Hunt, Flat 6, 37 Chester Way, Lodon SE11 4UR
England. Nopt sure of the current prices I'm afraid. They are
essential reading if you are an avid WF collector.



Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: ideal christmas cds
Organization: Morgan Stanley & Co., New York, NY
Distribution: rec
Date: Tue, 15 Dec 1992 19:37:14 GMT

In article <1992Dec15.4216.25342@dosgate> "alexander inglis" <alexander.inglis@canrem.com> writes:
>Here's the ideal Christmas gift for the music lover you love to hate!
>
>Francesco d'Avalos, The Philharmonia play
>The Complete Orchestral Works of Muzio Clementi
>Two Symphonies, Op 18; Four More Symphonies, WoOp; Two Overtures;
>One Piano Concerto; Minuetto Pastorale; & "The Great National"
>3-ASV DCS 322
>
>Sheeesh! Imagine what 3 and half hours of Clementi sounds like when he
>has the *entire* orchestra to practice with!
>
>                 ___
>                (o o)
>                 !O!
>                  -
>
>(Does this remind *anyone* of Edvard Munch?!?)


My God!  Was Munch an alien-abduction victim also?!


>
>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
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Xmas CD
Date: 17 Dec 92 15:32:51 GMT
Organization: Oxford University VAX 6620

In article <1992Dec11.174004.16257@tc.fluke.COM>, strong@tc.fluke.COM (Norm Strong) writes:
> It's time for my annual Xmas CD, and I'm looking for recommendations.
> 
> It should be for chorus, with or without accompaniment, and have lots of
> rarely heard music.  I don't want another CD with the usual English
> stuff.  
> 
Never one to hide my light under a bushel, particularly if it means people
buying the CDs, Schola Cantorum of Oxford have recently released two discs of
twentieth-century music on the Proudsound label (distributed by Gamut). And you
no longer have to take my word for it that they are good. The first (sacred:
Martin's mass for double choir, motets by Durufle, Stanford, Gorecki and Byron)
was a critic's choice in the December Gramophone; the second (secular: Vaughan
Williams, Ravel, Debussy, Ligeti, Dallapicolla) got a very good review in
Classic CD. And neither are what you'd call the usual English stuff. 

The trouble is you'll probably have to pay import price for them in the states,
if they're available at all. Heigh-ho! Such is life!
-- 

Stephen Wilcox             |   For Sale: Posts in British Government. Suit
wilcox@vax.oxford.ac.uk    |   outgoing American. Highest bids accepted.
Newsgroups: rec.music.classical
From: packer@amarna.gsfc.nasa.gov (Charles Packer)
Subject: Re: interesting phenomenon
News-Software: VAX/VMS VNEWS 1.4-b1  
Organization: Dept. of Independence
Date: Mon, 14 Dec 1992 11:20:00 GMT

It's a general phenomenon in any senory modality.
A period of attention to detail heightens sensitivity
to subsequent  stimulation. Now if only the process could be
reversed just as easily: make an excessively familiar
piece of music sound new again...


Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Lost Masterpieces was Re: Dresden was Re: One-work-composers
Organization: Morgan Stanley & Co., New York, NY
Date: Fri, 18 Dec 1992 15:25:55 GMT

In article <1992Dec17.234323.18029@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1992Dec17.225720.4602@fid.morgan.com> apter@fid.morgan.com (Steve Apter) writes:
>
>>New thread:  Presumably great works which were, or might have been, 
>>lost or destroyed.
>
>On my list:
>--the Cambrai Choirbook
>--Monteverdi's Arianna
>--Schuetz's Daphne


In fact, the exchange about Dresden which prompted my question
brought Schutz to mind.  I've always assumed that the firebombing
was responsible for the loss of at least some of Schutz's work, but
your reply to the original poster suggests that this is not so.
What's the story here?


>--The other 100 Bach cantatas
>
>...and, of course, John Ernest Galliard's Sonata for 24 bassoons
>and continuo -- though that one may have been destroyed on purpose.  8-)


Nuts.


>
>Roger
>


Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: Recorded using B&W speakers
Organization: Indiana University
Date: Fri, 18 Dec 1992 16:54:52 GMT

In article <1992Dec18.005104.2426@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>fernande@cps.msu.edu (Jose Roberto Fernandez) writes:
>: I've seen a few CDs with notes indicating that they were recorded
>: "using B&W speakers."  My question is, how are loudspeakers "used"
>: in a recording and what influence do they have on the quality of
>: a recording?

I went and a couple of my recent recordings. Two DG recordings,
*Salome* and Mussorgsky/Ravel's *Pictures at an Exhibition* with
Sinopoli, acknowledge B&W. So does the London/Decca *Gurrelieder*
with Chailly.

Is this because of some Polygram - B&W deal. Or, is B&W really thought
to be that much better in the recording community? I had then better
start saving money for those 801's.

						Sami Mitra
Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: Re: The BEST finale!
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Thu, 17 Dec 1992 20:52:00 GMT

In article <BzEEnD.7x8@cs.columbia.edu> tait@cs.columbia.edu (Carl Tait) writes:
>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?
>
>For sheer, throat-catching beauty, three Ravel pieces get my vote:
>
>Jeux d'eau: A gorgeous wash of major seventh chords
>
>Valses nobles et sentimentales: The magical return of the second waltz
>                                                        ,
>Ma mere l'oye (orchestral version): The entire "Jardin feerique,"
>   especially the pianissimo climax and the pure C major chord
>   that emerges from the orchestral swirl at the end


Let me second the mention of the _Jardin feerique_. Wish I had thought
of that one myself. I'll also jump on board with those who mentioned
_Der Abschied_.



Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: pkbockus@gsbphd.uchicago.edu (Keith Bockus)
Subject: Re: Flight of the Humblebee
Organization: University of Chicago Computing Organizations
Date: Wed, 16 Dec 1992 18:23:39 GMT

andreas@appel012.hydromech.uni-hannover.de (Andreas A. W. Dunker) writes:

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

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

Keith Bockus

Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Works of Karol Szymanowski
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Sat, 12 Dec 1992 17:21:42 GMT

In article <1992Dec12.170148.17749@news.columbia.edu> Ravi S Moorthy writes:
>I have never heard any of Szymanowski's orchestral works.  Can
>somebody suggest me some.

The Violin Concertos.  There is a disc of both on the Marco Polo label.

T. M. McComb

Newsgroups: rec.music.classical
From: Nation@mindlink.bc.ca (Brian Nation)
Subject: Rachmaninoff's "VESPERS"
Organization: MIND LINK! - British Columbia, Canada
Date: Mon, 21 Dec 1992 02:23:42 GMT

Several years ago I heard a recording of Vespers that was absolutely
astounding. I don't recall the performers, but I believe it was a Russian
chorus. I've been looking for a CD and recently have noticed several versions
available. Any recommendations?

Also, I don't know Rachmaninoff's other choral works. How do they compare?
From: miller@hpscit.sc.hp.com (Phil Miller)
Date: Fri, 18 Dec 1992 17:51:28 GMT
Subject: Re: Bruckner (was Re: The BEST finale!)
Organization: Hewlett-Packard, Santa Clara, CA
Newsgroups: rec.music.classical

In rec.music.classical, hurben@lamar.ColoState.EDU (Mike Hurben) writes:


> Well, one finale that I have always loved, and for reasons I cannot understand,
> has recieved criticism in this group, is from Mahler's 1st Symphony...  I think
> it is his finest finale, even better than anything Beethoven closes with...


But aren't the last two notes of Mahler's 1 actually taken from the      
beginning of the second movement of Beethoven's Ninth Symphonie?

                                 Phil (miller@sc.hp.com)

Newsgroups: rec.music.classical
From: beascoea@colossus.cs.rpi.edu (Alex Beascoechea)
Subject: Re: NEWS: Pavarotti booed out of the SCALA
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Fri, 11 Dec 1992 17:51:38 GMT

In article <1992Dec11.162515.27597@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>I have never been extremely impressed with Pavarotti. I became convinced
>several years ago that his really good singing is only when he does it 
>sotto voce. However, in spite of my less than rave review, I think it
>extremely boorish of the audience to behave that way. 
>
>It is quite rude, ill-mannered, swinish, idiotic, and puerile to boo a 
>performer for a slip-up. I wouldn't boo a dancer for falling, I wouldn't 
>boo a pianist for a mangled chord, and I wouldn't boo a singer either. 
>If I think the performance is poor, I don't applaud. If I really can't 
>stand it, I would get up and leave, but only at the next break. 
>
>People in the audience who disrupt a performance, no matter how bad it
>is, are low class imbeciles. It drives me bananas when anyone talks
>during a performance, or shuffles papers, or makes any noise. It shows
>complete disregard for others. If they can't sit quietly, they should
>be told to shutup or leave. If they shout and boo, they should be 
>summarily thrown out.
>
>Besides, pity the poor performer! They're not doing it on purpose, and
>they don't go out there expecting to do badly. They know better than
>anyone else when they mess up, and they suffer from this without any
>reminding from the audience.
>
>Well, I guess I beat this point to death.
>
>- BK

Come on!   I do not think it is that bad !!! In fact I think it is
a good corrective measure to remind some artists who is paying and
who has put them there!! :-)
In the case of La Scala,this seems to be more part of a tradition. And
considereing the prices you pay for opera in Europe, I expect the
performed to be at a minimum level! If you are not prepared, then do not
perform, or do it cheaper or do it for free!!


-- 
----------------- Alex Beascoechea -----------------
alex@ecse.rpi.edu beascoea@cs.rpi.edu beasca@rpi.e
----------------------------------------------------

Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Greatest living conductor
Organization: University of Western Ontario
Date: Fri, 18 Dec 1992 19:47:59 GMT

He may not have a very broad repertoire, but my fave is Pierre Boulez. He 
always has fascinating things to say about 20th century works and his 
conucting technique is astounding.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Greatest living pianist(s with a recording contract)
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 15 Dec 1992 19:01:38 GMT

In article <1992Dec14.025630.21224@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>Steve Apter (apter@fid.morgan.com) wrote:
>: In article <1992Dec9.194100.14100@visual.com> rwh@visual.com (Rob Holzel) writes:
>: >Deryk Barker writes:
>: >
>: >> If you want to argue about who the greatest living
>: >>pianist is, I'll nominate Sviatoslav Richter.
>: >
>: >Agreed.
>: >
>: >
>: >
>: 
>: Michelangeli, Joao Carlos Martins, Marc-Andre Hamelin, 
>: Afanassiev, Ronald Stevenson, Jeffrey Swann, Alice Ader,
>: Batagov:  I'll listen to anything they commit to disk.
>: 
>: 
>: (Who am I forgetting?)
>: 
>Chrystian Zimerman?  :-)
>
>
>John

Yes, thanks.  Two recent recordings of CZ's which impressed
the hell out of me are both on DG:  one of the Schubert
Impromptus, the other of the Lutoslawski Piano Concerto.
Anything else you care to recommend?





Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Best one-work-composer
Organization: Open Software Foundation
Date: Fri, 11 Dec 1992 19:18:13 GMT

A while back I nominated Hrold (Zampa).

But then I remembered La Fille Mal Garde.

But then I remembered that the only particularly remembered part of that
was the Clog Dance.

Which was by Herter (another one-work composer?)
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Allberall und ewig blauen licht die Fernen!  Ewig... ewig... ewig...
Newsgroups: rec.music.classical
From: jefrank@magnus.acs.ohio-state.edu (Jason E Frank)
Subject: Shostakovich symphony recommendations
Organization: The Ohio State University
Date: Sat, 19 Dec 1992 20:24:45 GMT

	I'm just beginning to explore Shostakovich's symphonic output.
To date, I own symphonies #7 (Mata/Dallas) and #6 & #9 (Jansons/Oslo),
and I'd like to know your thoughts on the following:
	1.  What are the "best" recordings of his 11th and 13th?
	2.  Which other of his symphonies would be most worth exploring
(as a possible guideline, I like the 7th much more than the 6th and 9th)?
    Thanks in advance for your suggestions.
--jason

Newsgroups: rec.music.classical
From: graziano@ravel.udel.edu (Lisa Marie Graziano)
Subject: greatest conductors
Organization: University of Delaware
Distribution: na
Date: Thu, 17 Dec 1992 20:13:42 GMT


I know they're not all still alive, but heres some of my favorites:
Furtwangler (for Brahms, esp)
Szell
Ormandy 
Solti
Bernstein

Xref: sparky rec.music.classical:18718 ne.general:3474
From: MICHAEL.WILLETT@OFFICE.WANG.COM ("Michael Willett")
Newsgroups: rec.music.classical,ne.general
Subject: Re: Mezzo-soprano Teri Medley Expands Caroling at Boston Ritz-Carlton
Date: 16 Dec 92 15:59:27 GMT
Organization: Mail to News Gateway at Wang Labs

Kelly McKillop writes:

>Actually, the Ritz recently lost its 5 diamond rating...

Assuming this to be true, you'd never know that from visiting the Ritz-
Carlton.  I wonder what the reason might be?  The Ritz-Carlton seems
to be very full and there are all kinds of receptions and other
Christmas events and parties going on there.  The Ritz-Carlton is a
much more traditional hotel, unlike a brand new one like the Four
Seasons nearby.  I'm not sure but I would guess that the Ritz-Carlton
would appeal more to local New Englanders and Europeans interested in
classical elegance, while the Four Seasons might appeal more to people
interested in the new.  I also don't think that other Boston areas have big
traditional art collections as the Ritz does, as least that I am aware of.

The Ritz-Carlton has live classical music being played during
their brunches and other times during the day, perhaps including
afternoon tea, with a small group.  That's a nice touch.  I don't
recall live classical music being played at other Boston luxury
hotels, but that may be possible.

I'll see if I can find out some more about this from the Ritz,
including their classical music plans.  (Medley's season at the
Ritz concludes at Christmas, as she then gets ready for her New
York City Opera tour.)  I wonder if there are many other hotels
that have much classical music being performed there.  If so,
please let me know so I can include them in my travel plans!

Michael.Willett@OFFICE.Wang.com
Newsgroups: rec.music.classical
From: evan@top.cis.syr.edu (Evan Cheng)
Subject: Duncan Druce's version of Mozart Requiem
Keywords: Mozart, Requiem, Druce
Organization: Syracuse University, CIS Dept.
Distribution: usa
Date: Sat, 12 Dec 92 00:18:38 EST

I would like some comments on the world premier recording of Duncan
Druce's version of Mozart Requiem.

It's performed by the London Classical Players conducted by Roger
Norrington, released by EMI classics.

I would appreciate any honest comment.

Evan Cheng
evan@top.cis.syr.edu