HDTenEightyP/NetNews huggingface dataset:
From: paul@cgh.cgh.com (Paul Homchick)
Subject: Re: Candide broadcast
Organization: Chimitt Gilman Homchick, Inc.
Date: Sun, 13 Sep 1992 19:23:02 GMT

conrad@brahms.udel.edu (Jon Conrad) wrote:
mls@cbnewsm.cb.att.com (mike.siemon) writes:
>>The broadcast also omitted the "boredom" song of the two women and,
>>more drastically, the whole scene in which Candide meets anti-Pangloss
>>("Don't make me laugh") and his swindling by the ship merchant ("Bon
>>voyage") and -- perhaps my favorite piece in the whole work -- the
>>kings' barcarolle.  I *do* hope that the "undedited" video tape being
>>flogged during the broadcast supplies some or all of these omissions.
>
And Jon Conrad replies:
>??  All these were in the telecast I saw last winter.  What went on here???
>That's very strange.  The only time I've seen this video was its
>previous telecast by A&E, and it was definitely included then.  Surely
>they didn't shorten it this time around!  Did it fill a 2-hour timeslot?

The commerical DGG tape which contains all of the missing material,
lasts 2 hours and 27 minutes, so if the broadcast was scheduled for a
two-hour slot, something had to go.  Still, I agree that a Candide
without "Quiet!" and "Bon Voyage" is a sorry one.  (Gedda in "Bon
Voyage" is a wonder to behold), I would have been tempted to cut a bit
of Lenny's perorations and leave more music.  As an aside, if there is
anyone out there who is considering a purchase of the 2-CD set, I'd
advise getting the VHS tape instead.  It has better performances, and
is a lot more fun.
-- 
Paul Homchick                    :UUCP     {rutgers | uunet} !cbmvax!cgh!paul
Chimitt Gilman Homchick, Inc.    :Internet                       paul@cgh.com
1111 West DeKalb Pike, Suite 101 :MCI                               PHOMCHICK
Wayne, PA  19087-2179            :GEnie                              HOMCHICK
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Old friends return
Date: 14 Sep 92 03:35:24 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

I discovered today to my pleasure that Sony has reissued the 1961 Fleisher/Szell
set of the Beethoven piano concerti on their budget CD line. This outstanding set
is a steal at $18 or so (filled out with a perfectly respectable Istomin/Stern/
Rose/Ormandy recording of the Triple Concerto). Fleisher is recorded at the top
of his form, Szell's accompaniments are wonderfully taut and beautifully played,
and the recording (nicely remastered) is perfectly acceptable -- better to my ear
than the more closely-miked sound CBS recorded in Cleveland a few years later.

For me, this is the only set that rivals Schnabel. Highly recommended. And, by
the way, Sony has also reissued one of my other old favorites in the same series,
the Szell/CO Dvorak Slavonic Dances. Drop another $6!

					Tony Movshon

Internet:  movshon@nyu.edu

US Mail:   Howard Hughes Medical Institute
	   Center for Neural Science
	   New York University
	   4 Washington Place, room 809
	   New York, NY 10003
From: sec@otter.hpl.hp.com (Simon Crouch)
Date: Tue, 8 Sep 1992 14:50:21 GMT
Subject: Re: Wagner Weekend
Organization: Hewlett-Packard Laboratories, Bristol, UK.
Newsgroups: rec.music.classical

In rec.music.classical, rwh@visual.com (Rob Holzel) writes:

> Can *anything* in music rival the gorgeous quintet in Act III
> of "Die Meistersinger"?

Um....All of Parsifal?

> Can anything rival the EMI Karajan
> recording with Helen Donath? 

Strangely enough, after advice from Jon Conrad et al. on this forum,
I recently acquired exactly this recording....and I must say that
I agree entirely with you! The orchestral playing, in particular,
is absolutely superb.

> Talk about desert island music.  This whole work is astonishing.

Yup.

> Sorry, I just had to get that off my chest.

I think it's about time we had another "Let's rave about Wagner string".
Or perhaps a "Wagner Anonymous" string....Hello, my name's Simon and
I'm a Wagner addict......

> Rob

Simon.
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Tristan and the taragota
Date: 11 Sep 1992 18:53:27 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Margaret Mikulska (mikulska@crux.Princeton.EDU) wrote:
: 1. It's "tarogato", not "taragota".
My taragota says "Taragota" on it. I know it's also spelt other ways. I
just followed what was written on it. 

: 2. Not in "Parsifal", but in "Tristan" (the shepherd's song, beginning
:     of Act 3).
Whoops, sorry.

: 3. It was the other way round: Wagner specified cor anglais, and
:     Mahler suggested the use of tarogato instead.
Can you provide some source information about that? - I'd like to track it
down. I know the scores I checked don't have a T., but I have read it the other
way in a few places. 

It would however fit Mahler's view on tarting things up. But to whom did
he make the suggestion?

I have also heard there were a few things made to play the solo - 
	? an octavin? 
	?a heckelclarina? 
I have even read that Wagner specified "Shepherd pipe"
and left it at that - though I can't believe the old tyrant would have
left anything to chance.

: I never heard of any recording of Tristan with tarogato (unless I simply
: didn't notice that it was there). 

If it had been played on a t. (sp) you would have known. I have heard it
played on an alto sax by a busker, and it was marvellous.
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Last Night of the Proms / words
Date: 9 Sep 92 10:55:24 GMT
Organization: Oxford University VAX 6620

> In article <1992Aug28.172825.8557@vax.oxford.ac.uk>, I wrote, quoting the
words sung to Elgar's Pomp and Circumstance March no.1:
>  
>> Land of Hope and Glory, 
>> Mother of the Free,
[and so on in vain-glorious continuation]
> 
Dave Singer replied:
> Not only absolute tosh, but not what Benson wrote or Elgar set, either. 
> (But it is what's sung, as far as one can tell). You're OK as far as 'born 
> of thee'. As best as I can recall, one verse goes thus:
> 
> Hark! a mighty nation
> maketh glad reply;
> Lo! our lips are thankful
> Lo! our hearts are high.
> Strong in faith and freedom
> we have crowned our King.
> 
> The original is part of the Coronation Ode; he uses the march but tinkers
> with it somewhat. It's not note-for-note from P&C.

Can someone sort this out? I seem to remember that Elgar set the whole of the
`Land of Hope and Glory' verse in the Coronation Ode, but to completely
different music for a soprano soloist. He also used the Pomp and Circumstance
Music to set the verse Dave quotes, for full chorus. Someone else then set
`Land of Hope...' to the March, for Lord alone knows what reason. Is my memory
failing me or am I right?
-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Newsgroups: rec.music.classical
Subject: Re: Du Pre recital
Date: 14 Sep 92 23:21:33 GMT
Distribution: usa
Organization: Camosun College, Victoria BC, Canada

In article <14SEP199210210465@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel (x2025)) writes:
>In article <FKFQB385@cc.swarthmore.edu>, rbrooks1@cc.swarthmore.edu (Rob Brooks) asks...
>
>> Can anyone reccomend a good recording of Mahler 6?  I hear Haitink's
>>new Berlin Phil recording and Karajan/BPO from the 70's are well worth the
>>$26.  What about Tennstedt or ("oh god this is so slow") Bernstein.

I wouldn't bother with the Haitink. Tennstedt I always found too
hysterical in this work. Bernstein, although I haven't heard his
second go, actually does an "oh god this is so fast" version. I have a
dozen recordings of this and none of them is 100% satisfactory. This
is obviously music which is "better than it can be played" (to quote
Schnabel). My all-time favourite: NPO/Barbirolli - EMI long out of
print. Of available versions I also really like the Segerstam on
Chandos. Read the two - contrasting - reviews in last Nov/Dec's
Fanfare for more detail. This is a dangerous performance and I like
that. 

Szell is good - and cheap - but flawed. Mitropoulos (available on Hunt
if you can find it) is also superb, but in mono. Abbado and Karajan
are good, but I think they miss the really awesomely tragic depths of
this incredible symphony.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: jonesm@nic.cerf.net (Matthew Jones)
Newsgroups: rec.music.classical
Subject: Musical Instrument Technology and Mechanics
Date: 11 Sep 92 14:50:41 GMT
Distribution: usa
Organization: CERFnet

Hi there
I would like information on how instruments are built especially a harp.
An orchestral harp, that is (7 pedals). Any info would be appreciated.

Matthew Jones
jonesm@cerf.net
Newsgroups: rec.music.classical
Subject: Shostakovic's Preludes and Fugues recording: comments?
From: Marco Simionato <simion@iveuncc.unive.it>
Date: 8 Sep 92 12:38:56 +0100
Distribution: world
Organization: University of Venezia (Italy)
X-UserAgent: Nuntius v1.1.1d9X-XXDate: Tue, 8 Sep 92 12:39:48 GMTLines: 4

I would appreciate any comments on the recent release on K.Jarret's
recording of this piano work.
I would also be grateful if anyone could tell me which label released
Tatiana Nikoleeva's recording and if it is currently available.
Newsgroups: rec.music.classical
From: dclason@dante.nmsu.edu (Dennis Clason)
Subject: Re: Parsifal and the taragota
Organization: New Mexico State University, Las Cruces, NM
Date: Thu, 10 Sep 1992 19:31:48 GMT

In article <18mdseINNgao@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>I believe that the taragota was intended to have a solo part in
>Parisfal, but this is normally taken by a cor anglais. Is there a
>recording with the taragota? If so, is the recording good in other
>departments (ie singing and conducting)?

O.K., I'll bite.  What's a taragota, and why
is the E-horn considered an acceptable
substitute?  



Xref: sparky rec.music.classical:12703 rec.music.folk:6264
From: mitchell@Software.Mitel.COM (Robert Mitchell)
Newsgroups: rec.music.classical,rec.music.folk
Subject: Suo Gan "Empire of the Sun" song
Date: 11 Sep 92 21:57:05 GMT
Organization: Mitel. Kanata (Ontario). Canada.



Hello,

  The Steven Spielberg movie "Empire of the Sun" opens with a song
called "Suo Gan".

  It is a Welsh lullaby. What does the song title mean ?
What is the song is about, and who wrote it ? When ?

  There are several people interested in this little mystery.

  Thanks.

/Rob
Newsgroups: rec.music.classical
From: lungtt@gus19.ecn.purdue.edu (Terence T. Lung)
Subject: Help!  Suggestions needed for Violin/Organ music!
Organization: Purdue University Engineering Computer Network
Date: Fri, 11 Sep 1992 03:47:30 GMT

The subject heading says it all.
I am a violinist and I have a bad itch to duo it out with an organ.

I can only think of a handful of pieces though:
(1) various Albinoni
(2) selected movements from Vivaldi's Concertos for Two Orchestras
(3) Vitali's Chaconne in G minor

well that's it.  Does anyone know anymore?

Thanks

at loss for ideas,
Terence

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Karajan & Solti (was Mahler's 5th & Solti etc.)
Organization: Camosun College, Victoria BC, Canada
Date: Fri, 11 Sep 1992 00:31:15 GMT

In article <1992Sep10.170920.12554@CSD-NewsHost.Stanford.EDU> spg@Xenon.Stanford.EDU (Stephen P. Guthrie) writes:
[....]
>What did Stravinsky say about HvK conducting his music? Something about playing
>it a la hoochie koo.

'Tempo di hoochie coochie' I think. Apropos of the Rite of Spring.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.

Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Martinon (was Re: Mahler's 5th...)
Organization: University of Delaware
Date: Mon, 14 Sep 1992 20:58:31 GMT

In article <1992Sep14.193554.25208@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:

>Martinon's Ravel and Debussy recordings were issued on four individual
>EMI Studio disks a while back.  The Debussy disks are still available,
>and the Ravel CD's were only recently cut out -- you should be able to 
>find them at reduced price.

Right, and it's good that people should know about this.  But the Daphis
that was being mentioned was an RCA recording with Chicago.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: icking@gmd.de (Werner Icking)
Subject: Re: Flute technique books, flute group
Organization: GMD, Sankt Augustin, Germany
Date: Thu, 10 Sep 1992 11:15:12 GMT

There's one basic book from Joachim Quantz from 1752. At the moment I'm
not able to look up the database of the library of congress. So I
can only give you the references to two facsimile prints in german:

VLB aktuell 3.1  (<- That's the german BIP (books in print))

Quantz, Johann J: Versuch einer Anweisung, die Floete
   traversiere zu spielen. (Reprint d. Ausg. Berlin 1752) 1992.
   448 S. (dtv Wiss. Reihe 4900) 'dtv /KNO' Kt DM 19,80 (ISBN
   3-423-04900-6) 

Quantz, Johann J: Versuch einer Anweisung die Floete
   traversiere zu spielen. Vorw. v. Kuijken, Barthold. (Faks. d.
   Ausg. Bln 1752) 1988. 420 S., 24 Klapptaf. im Anh. - 17 x 23,5
   cm. 'Breitkopf & Haertel Taunusst.' Ln DM 46,- (ISBN
   3-7651-0241-5) 

In the meantime I could access BIP:

Copyright (c) 1987 - 1991 R. R. BOWKER, All rights reserved.

Quantz, Johann J. On Playing the Flute. 2nd ed.  Reilly, Edward
     R., translator. LC 75-10986. (Illus.). 09/1985. Repr. of 1965
     ed. $18.95. (ISBN 0-02-870160-7). Schirmer Books.

Quantz, Johann J. On Playing the Flute. 2nd ed.  Reilly, Edward,
     editor. 448p. 11/1985. Hardcover text edition. $22.95. (ISBN
     0-02-872920-X). Schirmer Books.

May be that these are translations.

Werner

PS: If you find any book on playing the flute which does not cite
    this book of Quantz it's not a good book :-)

PPS: The book does not only contain technical hints how to play the
     flute but a lot of information about playing in/with an orchestra.
     The chapter about the leader of an orchestra is funny to read
     with respect to modern company-leaders (managers/Vorstand).
--
Werner Icking           icking@gmd.de            (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
Newsgroups: rec.music.classical
Subject: Re: Gruberova cancellation, Weidinger, etc.
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Tuesday, 15 Sep 1992 20:46:11 EDT
Organization: City University of New York/ University Computer Center

Weidinger has been doing some major roles of this sort in Europe to mixed
reviews. My memmmory of her in shart roles at the Met was that she had a
small voice, a good technique, and some intelligence.

We may discover whether Semiramide is viable when performed by a cast that is
not stellar. Have you heard Scalchi? Is Frank Lopardo the only known quantity?
I like Marin's conducting of Rossini rias for Bartoli.
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Mahler 6 (was Re: Du Pre recital)
Date: 13 Sep 92 19:51:13 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

Three very recommendable Mahler 6's are (1) Abbado, on mid-price DGG, excellent
analog sound, very tight and well-modulated performance; I also still like
the (2) Solti/Chicago recording of the early '70s. This was one of the first
Decca Chicago recordings and I don't think the engineers quite had the
measure of the orchestra and hall yet, but the performance is remarkable
for its drive and power. I believe this one is still full-price, but I'm
not certain. Finally, there is (3) Szell's live 1966 Cleveland performance,
now re-released on one bidget CD by Sony. There are some live-performance
flaws and perhaps a hint that Szell is a little embarrassed by some of the
more excessive moments in the score, but there is some beautiful playing and
a nice lean sound to this recording that I enjoy.

---
					Tony Movshon

Internet:  movshon@nyu.edu

US Mail:   Howard Hughes Medical Institute
	   Center for Neural Science
	   New York University
	   4 Washington Place, room 809
	   New York, NY 10003
Newsgroups: rec.music.classical
From: inr@deimos.caltech.edu (I. Neill Reid)
Subject: re: Karajan & Solti (was Mahler's 5th & Solti etc.)
News-Software: VAX/VMS VNEWS 1.41    
Organization: California Institute of Technology
Date: Wed, 9 Sep 1992 00:41:00 GMT

>From: smith@honesty.Stanford.EDU (Jeremy Smith)

>In article <1992Sep8.033831.29158@cmcl2.nyu.edu> tony@cns.nyu.edu writes:
>>
>>HOWEVER, I have to add that these two, conducting their "home"
>>orchestras, have provided for me my finest experiences of orchestral
>>musicianship. Solti, on many occasions at Carnegie Hall with the CSO,
>>Karajan, more rarely. 

>MORE RARELY !?!?!?!

>Perhaps you haven't had many opportunities to hear Karajan live.  But
>that really doesn't matter since Karajan isn't known for having a
>special gift in live performance.  What does matter is that his best

   who told you that? I heard some fine performances during his
British tours in the 70s. 

>performances are on CD and he DOMINATES the cataloge in romantic music.

 well, he dominates the DG catalogue, which isn't quite the same
thing

>If you are interested in Bruckner, Tchaikovsky, Strauss (any of them),
>Sibelius, and (to a lesser degree) Mahler and Brahms, he cannot be

  although there are some very fine recordings, it's a very Germanic 
 Sibelius that he presents 

>overlooked.  In addition, he has numerous gems from Mozart to Webern.
>Solti may be good for Wagner, but he is not at the same level for the
>above mentioned composers(Solti's Mahler #1 is quite good, though). 
>No doubt, Karajan has injected a few dogs into the CD catalogue 
>(Shostakovich #10 for example), but Solti cannot compete with his 
>best, period.

>Jeremy.

 sorry, Karajan has injected more than just a few dogs - there's
whole wolf-packs roaming the record catalogues. I'd argue that
his recorded output was patchy from about the mid-70s - certainly
the interminable, repeated Beethoven cycles were gunk compared with
his work with Walter Legge (and the Philharmonia I think) in the 50s and 
the BPO in the early 60s. He was swallowed by his own (self-created? 
certainly self-maintained) legend. I recently got a copy of his account 
for the Peer Gynt suites from BMG. The recordings (from about 1970 I think) 
are fine - but the adulation of HvK (and family) in the accompanying 
notes is nauseating. 
   I don't think Solti has matched Karajan's early performances of the
Germanic classics, but his Bartok (for example) wipes HvK off the face of
the earth. Calling him a `non-thinker' sounds like a catchall cop-out
meaning `I don't like his interpretations'

  Neill Reid - inr@eccles.caltech.edu
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Mahler 6 (was Re: Du Pre recital)
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 15 Sep 1992 19:58:33 GMT

In article <1992Sep15.183013.17499@st-andrews.ac.uk> gr@st-andrews.ac.uk (Gavin Ramsay) writes:
:
>I haven't heard anyone put a word in for Klaus Tennstadt. I've not heard his
>recording of the 6th, but i heard him doing the 6th live and it was really 
>great - even bloody great!  The hammer blows were really shattering.

Investigate Tennstedt's new Mahler 5.  It's live, and completely convincing.

>gavin ramsay


Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Korngold
Date: 4 Sep 92 19:42:31 GMT
	<1992Sep2.180017.15220@spang.Camosun.BC.CA>
Organization: pubs
In-reply-to: dbarker@spang.Camosun.BC.CA's message of Fri, 4 Sep 1992 01:23:24 GMT

Somebody writes:

   >  Just came to my mind that Mahler composed only on vacations. Can he
   >  then be first rate composer?

Just think how good he would have been if he had done it full-time.

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
Subject: Shostakovich's Op. 87 Preludes and Fugues
From: hanly@brandonu.ca
Date: 11 Sep 92 14:16:21 CST
Organization: Brandon University, Brandon, Manitoba, Canada

The original Melodiya recording of Shostakovich's Op. 87 Preludes
and Fugues played by Tatjana Nikolajewa was released on 3
Melodiya-Eurodisc lp's in the sixties. (Melodiya-Eurodisc 86-199 XK)
There are notes in English and German by Heinrich Lindlar. 
I certainly enjoy these works. I am surprised they are not played
more often.

Cheers, Ken Hanly
From: monica@raybans.cis.ufl.edu (Eva Monica Sweat)
Newsgroups: rec.music.classical
Subject: Music on Rover Truck TV Ad
Date: 8 Sep 92 17:48:59 GMT
Reply-To: monica@raybans.cis.ufl.edu (Eva Monica Sweat)
Organization: University of Florida CIS dept.

Hi

Please...does anyone know what the song is that is on the Rover TV commercial...the ad inwhich the white Rover truck is covered in mud and a huge splash of water cleans it off all the while some fantastic music with a operatic female singer is blasting?  The music is a bit tribal sounding to me.  It is fantastic, and this question's been bothering me.

If you have a clue, please e-mail me directly.

Thanks so much,
Monica
<monica@mosquito.cis.ufl.edu>

Newsgroups: rec.music.classical
From: lmeissne@milton.u.washington.edu (Loren Meissner)
Subject: CD Boxed Sets of Operas
Organization: University of Washington, Seattle
Distribution: usa
Date: Sat, 5 Sep 1992 22:49:06 GMT

Am trying to find a place where I can mail order CD boxed sets of complete operas at a discount. I've just received a card from BMG Classical music service indicating that it is NOT possible to order the following sets through them:
THE MERRY WIDOW
THE BARBER OF SEVILLE
PELLIAS & MELISADONE

Thanks in advance for any suggestions you can offer.

Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Le Sacre, Stravinski
Organization: School of Computer Science, Carnegie Mellon
Distribution: usa
Date: Sat, 12 Sep 1992 17:40:34 GMT

In article <BuH6zx.CDr.1@cs.cmu.edu> hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
>In article <1992Sep11.054155.21462@CSD-NewsHost.Stanford.EDU> smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith) writes:
>>In article <10SEP199213574384@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel (x2025)) writes:
>>>In article <1992Sep10.170804.12479@CSD-NewsHost.Stanford.EDU>, smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith) writes...
>>>
>>>>and Montreal is perhaps the most technically proficient
>>>>Symphony Orchestra in the world today. 
>>>
>>>I guess I have not been keeping my eye on the Sports page.  When did they
>>>win this title?
>>>
>>>Ron
>>
>>Sorry, no official award for Montreal, just a hypothesis i've made
>>after hearing numerous demanding pieces by them.  The M.S.O. is very
>>accurate, very in tune, more so than recent recordings of other symphony
>>orchestras i've heard.
>
>>Jeremy.
>
>
>I hate to bring this up again[last time was in the Spring] but I hear from the
>folks who play in the Montral Symphony that most of their recordings are put
>together piece by piece.   This would explain the (a) lack of fire or
>intensity[as one poster put it] and (b) the technical perfection.
>
>Have you ever heard them live???
>
And to follow-up on my own post after reading one of Jon Conrad's:
Absolutely true.  All orchestras do retakes.  My point here is that perhaps
Dutoit and les Canadiens do more than others.  Andmy sources are players ipast 
and present in the ensemble.  Are they disgruntled?  Perhaps.  All of us have
bones to pick with music directors.  Is it true [the ammount of patching]??
I don't really know for sure.


Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Trio
Newsgroups: rec.music.classical