HDTenEightyP/NetNews huggingface dataset:
From: strong@tc.fluke.COM (Norm Strong)
Subject: Clarinet construction
Organization: John Fluke Mfg. Co., Inc., Everett, WA
Date: Tue, 17 Nov 1992 16:10:18 GMT

All the good clarinets I have seen were made of ebony, a wood in
increasingly short supply.  Within the next 2 decades there will no
longer be enough ebony for musical instrument construction.  

What research is being done to develop a suitable synthetic replacement?
There are many engineering plastics that should be at least as good as
ebony, but I'll bet no clarinet manufacturer is looking at them.  
-- 

Norm Strong  (strong@tc.fluke.com)
2528 31st S.   Seattle WA 98144   USA
Newsgroups: rec.music.classical
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Satie:  3 Pieces Froides
Organization: University of Illinois at Urbana
Date: Mon, 23 Nov 1992 16:44:41 GMT

I wrote:
>
>While searching for some Villa-Lobos sheet music, I ran across the ``Trois  
>Pieces Froides'' of Erik Satie.  The 2nd is clearly a parody of the 1st of  
>Schoenberg's ``Drei Klavierstuecke'', but what are the other two about?

Perhaps all those confused looks I'm sensing have a simple explanation.  What I  
meant to say was that the 2nd of the ``Nouvelles Pieces Froides'' seems to be a  
parody of the 2nd of Schoenberg's ``Drei Klavierstuecke''.  The ``Nouvelles  
Pieces Froides'' were published posthumously in 1968.  I assume the earler two  
sets of ``Pieces Froides'' have nothing to do with Schoenberg.

Ed erwin@lisboa.ks.uiuc.edu
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: notation of accidentals [?]
Date: 23 Nov 92 13:27:58 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Nov20.161017.19397@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1992Nov20.013019.6543@news.cs.brandeis.edu> jacob@max.cc.brandeis.edu ( ) writes:
>>In article <1992Nov19.003701.15474@news.cs.brandeis.edu> jacob@max.cc.brandeis.edu ( ) writes:
>
>>>The natural notation should be (to me) _relative_
>>>to the accidental at the clef, that is if the note
>>>is # at the clef then # --> x, natural --> # and
>>>b --> natural, if the note is b at the clef then
>>># --> natural, natural --> flat and b --> bb, and
>>>so on...
>>
>>In article <1992Nov19.021846.22259@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>
>>>There's a certain logic to that idea, but it also means that you have
>>>to read each note in light of what's gone before.  REmember that 
>>>accidentals are also used to cancel naturals.

There is also the matter of those of us who often write tonal
music without key signature.  The "relative to key signature"
system would be of no theoretical or practical help in terms of
performance preparation.  Needless to say, pieces which change
signature frequently would be especially confusing.

While the idea of "relativeness to key signature" has practical
applications in vocal music, the current system is no less
practical for the same applications.

One must also remember that the development of key signatures
themselves were "relative" to the original "do re mi fa..."
which *was* the natural notes and is still the names by which
those notes are known in plenty of countries.  The idea of
a "movable do" is a fairly recent innovation in regards to the
whole history of western musical pedagogy.
 

Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: Steve Reich's "Different Trains"
Date: 23 Nov 92 19:22:54 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

while I *do* rather like the piece (but will here admit that "Tehillim"
retains the first chair in the Reich section of my heart *because I can
hum it*....ha-shem-ay-em-mi-sha-vey-em-ka-vod-Kale (mmmm. Boerekool for
dinner tonight :-) ), I've also had somewhat of the misfortune of 
having heard both it and "Electric Counterpoint" live. Compared to the
precise balancing of the tapes, the live/tape balance really ruined the
piece for me. I wonder if any of the rest of you have had a similar
experience like this (your first encounter was mediated through the 
recording, *then* the live version disappointed you). I'm also interested
in stuff that worked *better* live (I sat through a performance of Kaaija
Saariaho's "Io" in the Netherlands in...ah....1989 that was *really*
exciting. The recording (on Finlandia), while perfectly fine, just does
not pack the wallop of the live performance).

Regards,
Gregory
--
-The world exhausts everything except my eyes/because it is a long walk to the
world/begun before I was born. In the far corner/the dead woman bows off stage
The television/crumples into a white dot as the last/train of the evening - my
train, is announced/I lived in one place. I want to die in another 608-828-3385
Newsgroups: rec.music.classical
From: dbrooks@penge.osf.org (David Brooks)
Subject: Re: Perfect Pitch Ability - Questions
Organization: Open Software Foundation
	<1992Nov23.203212.7176@athena.mit.edu>
Date: 24 Nov 92 00:39:06

ridgway@athena.mit.edu (Lee Ridgway) writes:

> This past weekend I was at a workshop with the conductor David Willcocks
> formerly of King's College, Cambridge, etc.).

The main event of this, his first visit to Boston, was a concert in
Harvard's Memorial Church by the combined Harvard/Yale choirs (the Yalies
were presumably in town for the Game).  I was there -- thankyou thankyou
thankyou to the Boston Globe for running an article on Willcocks on
Thursday.

The concert centered round Herbert Howells' "Take him, earth, for
cherishing" (in memoriam JFK, Harvard '40, first Harvard performance,
anniversary of death) and Britten's Hymn to St. Cecilia (St. Cecilia's day
and Britten's birthday).  Truly a powerful coalition of the stars.

> His ear is
> phenomenal and he has developed a whole repertoire of ways to help singers
> and players get in tune with themselves and each other.

Don't I know it.  The reason it was such a joy to attend the concert was
that Sir David had taught me all about choral singing in Cambridge '68 to
'71, before (as my wife pointed out) most of this weekend's choir had been
born.  And they, like me, will never forget the experience.  Apart from
some, um, ambiguous tonality in Bach's "Lobet den Herren", the precision
and pulse, abnd the joy of music, were all there, still.  At one point, the
choir started bouncing up and down in sympathy with Sir David's own
trademark spring.

My own story: at my first C.U.M.S. rehearsal, aged 19, clutching my brand
new copy of the unfamiliar B Minor Mass (which has no orchestral
introduction) and David striding onto the stage grinning like a pixie,
silencing the pianist, and saying "No note -- begin!"  From nowhere, and
everywhere, and mostly those singers with perfect pitch, a huge B minor
chord appeared, and we were off.
--
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Allberall und ewig blauen licht die Fernen!  Ewig... ewig... ewig...
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: tangents Re: Considering 4'33''
Date: 17 Nov 92 18:48:29 GMT
Article-I.D.: husc3.1992Nov17.134830.17534
Organization: Harvard Math Department

In article <1992Nov17.160733.1518@Princeton.EDU>
roger@astro.princeton.edu (Roger Lustig) writes:
>[...]
>Me, I *listen* to CDs; just seeing them does little for me.

There was/is a fellow who could recognize a classical LP (sans
label) by just looking at it --- apparently the pattern of rough
and smooth sections of the record, corresponding to loud/soft music,
contained enough information to figure out the piece, and in some
cases even the performer(s)!

I wonder whether a similar feat is conceivable using the colorful
interference patterns on a CD.  Perhaps the data is so mixed up
(intentionally, so a random scratch does not entirely obliterate
the data for any one moment) that this is no longer feasible.

Questions re the aesthetic experience of looking at an LP or CD,
and the difference between listening to a recording of 4'33" and
looking at the recording medium for the same length of time, left
as exercises for readers with nothing better to do. ;-)

>     [...]  A CD holds as much as 80 minutes of music.  What's
>one short piece more or less, even if you don't like it?  Would you buy
>a CD of Rite of Spring plus Miraculous Mandarin plus 4'33"?  

Oh, great --- now you'll have the Cage estate claiming copyright
infringement on any CD with less than 75 minutes of music on it :-)

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Harnoncourt's Beethoven
Organization: School of Computer Science, Carnegie Mellon
Date: Wed, 18 Nov 1992 19:46:43 GMT

In article <1992Nov18.020307.2870@nuscc.nus.sg> art30248@nusunix1.nus.sg (NG LING LING) writes:
>It's five mid-priced CDs, the first four are 70mins each (1 & 3, 2 & 5,
>6 & 8, 4 & 7) and the 9th is by itself.

Not exactly.  It's officially priced as 4 full-price discs (Teldec).  I've
seen it for $40.

>I dunno, I felt that the popular ones (3,5,6,9) were run-of-the-mill
>performances. (But they were really good for a `live' recording...i.e.
>one take)

I really disagree here.  His reading of the Fifth is the most exciting I've
ever heard, although I haven't heard the fast-becoming-legendary C.Kleiber.
The Third is given an outstanding performance; it's not "run-of-the-mill"
by any sense of the word.  I've never heard a Ninth last movement that I've
liked, but at least Harnoncourt's has the advantage of tremendously clear
and exciting choral singing.  If only the soloists were a little better, it
would have been perfect.  I didn't find the Sixth extraordinary in any way,
but it is certainly a fine performance in a competitive field.

>But just listening to No 2 and No 7!!!! Humdinger!!!! The very best.
>Really.

The Seventh is definitely worth hearing.

In short, these are all unusual readings, with special emphasis on drama
and imaginative phrasings.  I suspect that some people will not like them,
but anyone who craves a new approach to these war-horses of the repertoire
could do worse than to give these a close listen.  Although I am personally
mostly convinced by Harnoncourt's non-standard ideas, I'd feel a little
hesitant to recommend this set as a "first cycle".  But it's easily my
recommendation for a second.  There are many places in this set at which
Harnoncourt forces the listener to experience these familiar pieces anew,
even in the aforementioned {3,5,6,9}, and that is a great gift.

-chris
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: Wind ensemble recordings
Date: 17 Nov 92 17:18:36 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Distribution: usa
Organization: Heurikon Corporation, Madison, WI

(John Paul Cloninger) writes:
>>Anyway, does anyone know of any suppliers of Fennell-type wind ensemble
>>recordings? CDs preferably.

Well, if we are guided solely by the sense of smell, I would suppose that
a Fennel-type wind ensemble would be composed entirely of clarinets 
[licorice sticks, as my father called them].

--
-The world exhausts everything except my eyes/because it is a long walk to the
world/begun before I was born. In the far corner/the dead woman bows off stage
The television/crumples into a white dot as the last/train of the evening - my
train, is announced/I lived in one place. I want to die in another 608-828-3385
Newsgroups: rec.music.classical
Subject: Advice on Prokofiev piano sonatas?
From: <MHUGHES@MIAMIU.BITNET>
Date: Tuesday, 17 Nov 1992 11:09:47 EST
Organization: Miami University - Academic Computer Service

I want some advice on Prokofiev piano sonatas on two fronts:1. Of all the sonatas, which are the 3 or 4 most popular or most worthy
    of note in the repetoire?
 2. Which are the most respected/recommended recordings?
 
Thanks, Mike Hughes
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Re: Steve Reich's "Different Trains"
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 24 Nov 92 05:46:40 GMT

In article <1889@heurikon.heurikon.com> gtaylor@vme.heurikon.com (Gregory Taylor) writes:
>while I *do* rather like the piece (but will here admit that "Tehillim"
>retains the first chair in the Reich section of my heart *because I can
>hum it*....ha-shem-ay-em-mi-sha-vey-em-ka-vod-Kale (mmmm. Boerekool for
>dinner tonight :-) ), I've also had somewhat of the misfortune of 
>having heard both it and "Electric Counterpoint" live. Compared to the
>precise balancing of the tapes, the live/tape balance really ruined the
>piece for me. I wonder if any of the rest of you have had a similar
>experience like this (your first encounter was mediated through the 
>recording, *then* the live version disappointed you). I'm also interested
>in stuff that worked *better* live (I sat through a performance of Kaaija
>Saariaho's "Io" in the Netherlands in...ah....1989 that was *really*
>exciting. The recording (on Finlandia), while perfectly fine, just does
>not pack the wallop of the live performance).

My first encounter with D.T. was hearing the Kronos Qt. do the piece
'live' - the quartet was live (amplified) with taped accompaniment -
in Memorial Hall at Harvard U.  Memorial Hall is a dark, mostly
wooden theatre with diffusive "swooshy" acoustics that really suited this
performance.  I thoroughly enjoyed the work on this occasion,
experiencing it as a swirling whirlwind of melancholic remembrance.  
When I heard the recording some months later it seemed two dimensional, 
flat, and subdued in comparison.

Perhaps our different reactions stem from the fact that you heard
the recording first before the live performance, while I heard things
in the opposite order.  But more likely, I think, the differences
are due to having heard different performances in different settings.


Josh
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Considering 4'33''
Date: 18 Nov 1992 17:46:13 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Roger Lustig (roger@crux.Princeton.EDU) wrote:
: Millions of people have been delighted and inspired by his music.
True, myself included. Mind you, I was astonished when they put that
question in the census:

	  Y   N
512.9/01 [ ] [ ] Were you delighted and inspired by the music of John Cage
		 in the period 1/7/91 to 30/6/92.

(if you answered no to 512.9/01 go to 513/01)

512.9/02 [ ] [ ] Was one of the pieces 4'33"

: Surely he had a talent to do that, no?

Absoluely not. (Unless you want an artistic equivalence of John Cage and
Michael Jackson. I certainly do not. Moreover poeple like Simpson or
Brian who have probably meant that hundreds if not tens of people have
been astonished and delighted are in my opinion talented beyond compare)
From: petson@adonis.ias.msk.su
Newsgroups: rec.music.classical
Subject: Help to connect with HQ Harmonie Festival'93 (Limburg, Germany) via Email
Date: 16 Nov 92 14:37:03 GMT
Reply-To: petson@adonis.ias.msk.su
Organization: unknown

Message_Id: <adn_3910_0_>
Date: Mon, 16 Nov 1992 17:35:15 MSK
From: petson@adonis.ias.msk.su
To:   newsserv@newcom.kiae.su
Subject: Help to connect with HQ Harmonie Festival'93

     Hi everybody!
     Our Belarussian  Academy  of  Sciences  Choir have sent the
application and the other  documents  for  Harmonie  Festival'93
(Limburg, Germany).  The  ordinary  post  offices of former USSR
work unreliable now.  Therefore I ask for help in connection via
Email with  HQ  Harmonie  Festival'93.  We  would  like  to know
weather our Choir is included in this Festival competitions.  We
have its  post  address  in  Germany  only  now:  MGV  "Harmonie
Festival"  D-6250 Limburg 8. Shall be grateful for any help.

     Eugene Petson.
                  Administrator.
From: pajerek@telstar.kodak.com (Don Pajerek)
Newsgroups: rec.music.classical
Subject: re: Dallas Wind Symphony Recordings Info Wanted
Date: 16 Nov 92 20:30:02 GMT
Article-I.D.: kadsma.1992Nov16.203002.17165
Reply-To: pajerek@kadsma.kodak.com (Don Pajerek)
Distribution: usa
Organization: Digital Equipment Corp. - Telstar

In article <BxoLM7.G03@news.cso.uiuc.edu> dconrad@ux4.cso.uiuc.edu (David Lee Conrad) writes:
>I'm seeking information on the Dallas Wind Symphony and any recordings that
>may be available.  I am aware of seven cd's available, but can only find three.
>
>While browsing through the record stores today, I found two more cd's of theirs.
>One featured their regular director, Howard Dunn, conducting "La Fiesta Mexi-
>cana" (composed by composition professor H. Owen Reed) and other standard wind
>band selections.  The second featured a photo of Frederick Fennell conducting
>a collection of "Fennell-isms", selections that he has associated himself with
>over the years.   They were both recorded on Referenence Recordings.  Telephone:
>(800) 336-8866.  
>
>Does anyone own these recordings, or have further information that would
>quench my thurst of curiosity?  
>


There is a third RR recording of the DWS: 'Holst', featuring the standard
wind pieces by Holst (the 2 Suites, Hammersmith, plus the Moorside Suite).
The conductor is Howard Dunn (since deceased).

I highly recommend this CD, the 'Fiesta' somewhat less so.


Don Pajerek

Standard disclaimers apply.
From: kldawkin@napier.uwaterloo.ca (Kiwi)
Subject: Re: HAYDN
Organization: University of Waterloo
Date: Mon, 16 Nov 1992 20:08:39 GMT

In article <1dvkchINNquk@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>Kiwi (kldawkin@undergrad.math.waterloo.edu) wrote:
>: >: They say he was one if not the most prolific composers of the
>: >: period...perhaps he was a "formula" man who found his niche and
>: >: profitted from it at the cost of quality.  Everything I've heard sounds
>: >: the same to me. 
>: >This to me is a fairly apt description of Mozart.
>:  ^^^^^^^^^^^^
>: 	And *this*, to me, is the statement of someone, who, in
>: 	an attempt to profess great knowledge, takes what he sees
>: 	as a radical stance, and instead comes off looking
>: 	somewhat blindly opinionated.
>
>And *this*, to me, proves you have no sense of humour, and no great
>talent at invective.

Wrong, I have both. Your logic is at fault.
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: Question re. new Messian set on Erato
Date: 19 Nov 92 17:17:47 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

MHUGHES@MIAMIU.BITNET writes:
>Are the discs in the new Erato Messiaen edition available separately?

First, it seems fair to mention what's *there*

Olivier Messaien box [Erato 2292-45505-2]
I:	Vingt Regards sur l'Enfant Jesus [1944]
II:	Des Canyons aux Etoiles [1971-74]
   	Sept Haikai [1962]
III:	Coleurs de la Cite Celeste [1963]
	Et Exspecto Resurrectionem Mortuorum [1964]
	L'Ascension (4 Meditations pour orchestre) [1933]
	Orchestre du Domaine Musical/Pierre Boulez - 1 disc
IV:	Visions de l'Amen [1943]
	Katia and Marielle LaBecque, pianos
	Les Offrandes Oubliees [1930]
	Hymne au Saint Sacrament [1932]
V:	Petites Equisses d'Oiseaux [1985]
	Huit Preludes [1928-29]
	Quatre Etudes de Rythme [1949-1950]
VI:	Catalog d'Oiseaux
VII:	Trois Petites Liturgies de la Presence Divine [1943-44]
	Meditations sur le Mystere de la Sainte Trinite [1969]
VIII:	Quator pour la Fin du Temps [1941]
	Cinq Rechants [1949]
IX:	Harawi [1945]
X:	Poemes Pour Mi [1936]
	Chants de Terre et de Ciel
XI:	La Nativite du Seigneur [1935]
	Le Banquet Celeste [1926]
	Apparition de l'Eglise Eternelle [1932]
XII:	Entretien avec Calude Samuel [paris, October 1988]

The Petites Esquisses, La Nativite, Apparition, Le Banquet, Harawi, 
Poemes pour Mi, and the Chants de Terre are all new releases; So,
all of discs 9,10,11, and 12 aren't available separately, and it's
not clear in which form the stuff on the disc with the Petites Equisses
showed up originally.

Hope this helps.
--
-The world exhausts everything except my eyes/because it is a long walk to the
world/begun before I was born. In the far corner/the dead woman bows off stage
The television/crumples into a white dot as the last/train of the evening - my
train, is announced/I lived in one place. I want to die in another 608-828-3385
From: f1toyl@uta.fi (Topi Ylinen)
Newsgroups: rec.music.classical
Subject: FAQ needed
Keywords: FAQ needed
Date: 17 Nov 92 07:01:24 GMT
Distribution: rec
Organization: University of Tampere, Finland

For some reason or another, I cannot find the FAQ in this newsgroup.
Could someone please post it here or send it directly to me via email?
Thanks.

--
*****************************************************************************
TOPI YLINEN		f1toyl@kielo.uta.fi
=============================================================================
The brotherbeat to any bull-eyed bulbomasons with an applemeter of
blunderblood in his veins... the philo-oxidative paygreen pathofinder,
a terror firmly tiger-belted in a toad-twisting taxbus.
*****************************************************************************  
--
Fiat justitia ruat caelum
--

Newsgroups: rec.music.classical
From: mmccolli@comanche.ess.harris.com (Mike McCollister)
Subject: Don Dorsey CD's
Date: Fri, 20 Nov 1992 15:25:26 GMT
Reply-To: mmccolli@comanche.ess.harris.com
Organization: Harris Corporation, Government Aerospace Systems Division

I own two Don Dorsey CD's titled "Bach Busters" and "Beethoven or Bust".  Does
anyone know if Dorsey will be putting out any more CD's?

Thanks,

Mike

  _________________________________________________________________________
 /                                                                        /|
+------------------------------------------------------------------------+ |
|  _________                          |                                  | |
| |  _   _  | Michael J. McCollister  | Phone:  (407) 729-7054           | |
| |_| |_| | | Harris Corporation      | Email:                           | |
| |_/\/\/\|_| P.O. Box 94000          |   mmccolli@su100l.ess.harris.com | |
| | |_| |_| | Mailstop 100/4823       | -------------------------------- | |
| |_________| Palm Bay, Florida 32905 | I'm not going to say anything    | |
|                                     | stupid today.  Not!              |/
+------------------------------------------------------------------------+

Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Bernard Shaw quotes (was: Brahms)
Organization: UCLA Mathematics Department
Date: Wed, 18 Nov 92 17:31:22 GMT

In article <1ecahkINNsav@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>>  
>This leads to a corollary thread. What do current composers who
>subscribe to r.m.c like in current composition? I like Arnold, Simpson,
>Sculthorpe, Sallinen, Lloyd, Part, Schnittke, Lygeti, Xennakis,
>Williamson, Dreyfuss, Hovhaness, Rautavaara, Vine (to name but a few).
>
>Anyone else brave enough to nail their colours to the mast?

I assume you mean composers that are still alive?

As a transplant from England, I love the music of Sir Michael Tippett.
Also Peter Maxwell Davies, John Taverner (I think that's his name or
maybe I'm thinking of an opera by P.M. Davies?), Oliver Knussen.

From America the only living composer I really admire is Steve Reich.

David

--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
Newsgroups: rec.music.classical