HDTenEightyP/NetNews huggingface dataset:
From: epohl@hubcap.clemson.edu (Erik Alan Pohl)
Subject: Re: The Planets
Organization: Clemson University
Date: Fri, 6 Nov 1992 04:40:55 GMT

   The one I love is the version done by Robo-Holst, I mean 
Isao Tomita- it has got to be my favorite Planets recording
ever... NOT!!  Actually you should hear what ol' Tomita DOES TO
the Planets... pretty fun.

  


-- 
-------------------------------------------------------------------------------
"It's still hard for me to have a clear mind thinking on it.
 But it's the truth even if it didn't happen."(One Flew Over the Cuckoo's Nest)
---Erik Pohl at epohl@hubcap.clemson.edu---------------------------------------
From: dtt@mitisft.Convergent.COM (Duc Tran)
Newsgroups: rec.music.classical
Subject: Schimmel piano
Date: 9 Nov 92 23:22:13 GMT
Organization: Unisys Unix Systems Group, San Jose, CA

Hi:

I want to buy myself a grand piano, at a range of 20K. I find a German made
Schimmel 6'10 which I like a lot for these reasons:

Very nice tone, typically European tone. The range of 88 keys seems to be
very uniform, all notes seems to blend together very well. This piano
is recommended by the "How to buy a piano" by Larry Fine. Also, the 
piano is very beautiful inside and outside and appears to have great 
workmanship.

My piano teacher, however, doesn't recommend the Schimmel, instead, she
recommends the Baldwin 7'. She think the Schimmel is not very good for the 
price. And it will not last as long as the Baldwin.

So my questions are:

1) How the Schimmel compares to the 7' Baldwin grand?

2) Are there any differences in tone, touch between the Schimmel and the 
   Bechtein? Hamburg Steinway? 

   According to the Larry Fine, he mentions thats his customer cannot see any 
   difference  in tone, quality when compare compares the Schimmel to the
   top German made piano such as Bechtein, etc... And if there are any,
   it is very subtle. He then quotes: "...Schimmel is a great piano
   for the virtue of its value..."

   Anyone in the net who tries the Schimmel, has an opinion on this?

3) the Schimmel grand in black lacquer (6'10) listed for ~29500.00 and 
   I can get it for 20K, is this a good price. And in this range of 
   cost what are my alternative for both new and used piano. Ex: New Yamaha,
   or 10 years old Steinway...

I am confused because some of piano technicians recommned Schimmel, some
doesn't for the price range. There are two experience piano technician;
one is for, another is against the Schimmel. And they are friends.

My ultimate question is: "Is 6'10 Schimmel is a very good piano that worths
the 20K price tag?"

Your quick response is appreciated, since I have to make up my mind very quick
before Christmas.
Newsgroups: rec.music.classical
From: adri@dutncp8.tn.tudelft.nl (A.B. van Woerkom)
Subject: Re: Twinkle, Baa baa, abcdefg, Ah vous dirai-je...
Organization: Delft University of Technology
Date: Fri, 6 Nov 1992 12:27:21 GMT

kldawkin@undergrad.math.waterloo.edu (Kiwi) writes:

>In article <1992Oct25.164049.20083@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>>In article <1992Oct24.134221.1@eagle.wesleyan.edu> phoogenboom@eagle.wesleyan.edu writes:
>>
>>>Am I mistaken in believing that "twinkle," "baa, baa," "Ah vous dirai-je," and
>>>"a, b, c, d, e, f, g" are all EXACTLY THE SAME PITCHES with minor variations in
>>>rhythm to fit different lyrics?
>>
>>Yes, it's all the same tune.

>	And let's not forget "Morgen Kommt Der Weihnachtsmann" if you
>	happen to be German.
Or "Altijd is Kortjakje ziek" for our Dutch readers.
Adri.
--
A.B. van Woerkom, adri@dutncp8.tn.tudelft.nl
Delft University of Technology, Faculty of Applied Physics,
Vakgroep Fysische Informatica, section Computational Physics,
Lorentzweg 1, 2628 CJ  DELFT, The Netherlands
________________________________________________________________________
"Unfortunately, the current generation of mail programs do not have checkers
 to see if the sender knows what he is talking about" (A.S. Tanenbaum)
Newsgroups: rec.music.classical
From: ca_ac@gsbacd.uchicago.edu
Subject: Re: Help finding Paganini!
Organization: 
Date: Tue, 10 Nov 1992 07:19:02 GMT

In article <1992Nov9.190047.673@ab.wvnet.edu>, lambert_l@ab.wvnet.edu writes:
> Does anyone out there know how I can get some music by Paganini?
> I have looked for him everywhere and can't seem to find any of his music
> releases anywhere.  I really like his music, so any help would be appreciated.
> 
> 
>   Thank You in Advance,
> 
> 
>     Lisa Lambert

Do mean recordings of his works, or sheet music? If the latter then it is not
too difficult to find copies of the 24 Caprices or the first two violin
concertos at most reputable classical sheet music stores.

As for recorded music, these are the ones I know about. I will just list the
name of the violinist (mostly) and/or other soloist and the label.

24 Caprices - Shlomo Mintz (DG)
	    - Midori (CBS Masterworks)
	    - Perlman (EMI)
	    - Alexander Markov (Erato)
	    - Salvatore Accardo (DG)
Violin Concertos
No.1   Perlman(EMI), Shaham (DG), Ughi (RCA), Midori(Philips), V.Mullova 
								(Philips) 
No.1 & 2 Accardo (DG), Shmuel Ashkenasi(DG-Budget)
No.2 & 4 Ughi (RCA)                                                          
No.3   Szeryng (Philips-Budget)
No.3 & 4 Accardo (DG)
No.5 + Sonata "La Primavera"  Accardo (DG)
No.6 + Sonata with variations etc.  Accardo(DG)

Duos for violin and guitar + Sonatas Op.3,6 etc. Perlman and John Williams
							    (CBS Masterworks)
Caprices 9,13,14,17,24 + Moses Variations  Yo-Yo Ma (cello)  (CBS)

Also Accardo recorded several short bravura pieces for violin and orchestra
on the EMI label. 
Hope this helps!
						Alak Chakravorty.
Newsgroups: rec.music.classical
From: cerrlss@techunix.technion.ac.il (Shahar Steiff)
Subject: Bare Vs. Bold
Organization: Technion, Israel Institute of Technology
Date: Sun, 8 Nov 1992 09:14:01 GMT


Still on the Bold Vs. Bare mountain.
I have asked a Russian speaking friend and got the answer :
In Russian, when you refer to a mountain with no trees on, you say  
it is a BOLD mountain.
In English, the same mountain will be called a BARE mountain.
I don't know what M.Mussorgsky had in mind when he wrote "Night on a
bare/bold mountain" but in Russian it is called "Night on a BOLD
mountain". When translating to English, one may either stick to the
origins and lose the meaning, or stick to the meaning and lose the name.

-- 
 /=== Shahar Steiff  -   Computing and Process Control Engineer ===\
/ Chemical Engineering, Technion , Haifa, ISRAEL 32000   (room 318) \
\ Ph.(+)972-4-293420 Fx.(+)972-4-230476 | cerrlss@tx.technion.ac.il /
 \==Home:Ramat Yochanan 30035 04-459536 | cerrlss@technion.bitnet==/
Newsgroups: rec.music.classical
From: johnme@ecs.comm.mot.com (John Meyer)
Subject: Re: Cage's 4'33"
Organization: pcb_design
Distribution: usa
Date: Thu, 12 Nov 1992 12:02:15 GMT

In article <1992Nov11.224740.2346@osf.org> dbrooks@osf.org (David Brooks) writes:
>In article <1992Nov11.205624.1093@sequent.com>, danielh@sequent.com (Daniel Hobbs) writes:
>|> I've read so much on this newsgroup about Cage's infamous 4'33".
>|> Can anyone recommend any good recordings of it?  What, in the
>|> informed opinion of this net, is the _best_ recording?
>
>What a coincidence!  I'm listening to a performance right now, and my CD
>player is miles away.
>
>But the disk fan is whirring, my officemate's keyboard is clicking, a phone
>just rang nearby, and I can hear my boss's dulcit tones haranguing a
>colleague...
>
>There.  It just finished.


i heard it too. and it was soooooooo beauuuuuuuuuuuutiful. happy! happy! joy! joy!
             
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: It's in the wrists.
Organization: Camosun College, Victoria B.C, Canada
Date: Tue, 10 Nov 1992 16:41:44 GMT

In article <1992Nov09.131403.14369@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>In article <101095@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
>
>>     Anyways, is there any great piano composer/virtuoso who had
>>hands the size of mine or smaller?  (I'm looking for insipiration! :)
>
>I think I read somewhere that Mozart had small hands when he was a child.
>He did OK.  

Doesn't *everybody*?

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: potoole@maths.tcd.ie (Peter O'Toole)
Newsgroups: rec.music.classical
Subject: who wrote ...
Date: 5 Nov 92 14:58:07 GMT
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.


   
The other day on the radio, I heard a brilliant virtuoso piece for
violin and piano called "Dance of the Goblins."
Unfortunately I missed the name of the composer. Apparently it's his
most well known work.
Any takers?

Thanks in advance,
Peter O'Toole,
Trinity College Dublin.
From: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Newsgroups: rec.music.classical
Subject: Re: Need help with SCHUMANN works
Date: 5 Nov 92 15:06:50 GMT
Article-I.D.: news.1992Nov5.150650.8332
Reply-To: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Organization: Columbia University

In article <Bx6n44.2CM@news.cso.uiuc.edu> rakg7278@uxa.cso.uiuc.edu
(Richard A. Korkosz) writes:

>I'm really a Schumann fanatic, and was wondering if there are any 
>(relatively) obscure works of Schumann that are worth trying out (probably 
>many).  I'd appreciate it if anyone could recommend some works that they 
>enjoy, as well as good performances on CD.

The Piano Noveletten, all of them, but particularly nos. 2 and 8, which
sometimes appear on their own, are underrecognized.

Not much vocal music on your list.  You could add the very popular but
mushy "Frauenlieben und Leben," which despite text that will make your
eyes roll, does have some of his best vocal music, for example the
classic "Du Ring an Meinem Finger."  And the singers' favourite,
the "Liederkreis" which is of a very high level throughout.  There is
an early collection of songs called "Myrten" which is uneven, but
contains fine songs, most notably a very popular song at the beginning
which has been recorded many times, called "Widmung."  Despite its
simplicity, it has an engaging rapturous quality which is hard to resist.

  Any other big Schumann fans out there?

Me.  And one of my favourite pieces of music is the C major piano fantsasy.
There is a recording, quite old now, by the wonderful Rudolf Firkusny,
which is now on vinyl only, I think, which I have etched in my brain.
I have heard many subsequent, but it is still a great and unsurpassed
classic to me.
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: HAYDN
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Wed, 11 Nov 1992 16:34:59 GMT

In article <1992Nov11.140521.14498@discus.technion.ac.il> sorin@techunix.technion.ac.il (Goldenberg Sorin) writes:
>what are chromaticism and modulation ?


Short answers:

Chromaticism is the (pervasive) use of notes outside the diatonic collection.
The diatonic collection is the notes that make up a major scale.  Sing
"God Save the Queen" and you've used only diatonic notes.  The notes in
between arethe chromatic ones -- relative to the diatonic set you're
using.  Most harmony will use mainly diatonic pitches; the more of the 
other ones you use, the more chromatic the music gets.  Try listening
to the Prelude to Tristan und Isolde by Wagner (don't expect it at 
a concert in Israel, but there are recordings available); this music
keeps shifting key; every time you think you can pin it down to one
diatonic set, it slithers away.  Much of melody in that piece also uses
the "in-between" notes I mentioned above; play *all* the notes on a 
piano in order (black and white) and you're playing a chromatic scale.

Modulation means moving from key to key.  In most music you sing or 
play or hear, one note seems to have primacy over the others; the music
gravitates toward it.  This is the tonic, or  key-note.  Modulation is
the process of reinterpreting some portion of music so that it points
toward a new tonic.  It almost always involves introducing a note that's
not part of the original diatonic collection; different keys have different
(but overlapping) diatonic collections.

Roger
From: hellerS@moravian.edu (sjh)
Newsgroups: rec.music.classical
Subject: Re: Fantasia Contrappuntistica
Date: 3 Nov 92 15:50:32 GMT
Distribution: na

In <1992Nov3.054939.13540@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:


>Finally, there is a recording of the two-piano version of
>Busoni's _Fantasia Contrappuntistica_:

>	Fantasies for Duo Piano
>	  Velislava Georgieva & Krassimir Taskov
>	  Gega GD 139

>The CD bills itself as a "First Recording".  Is this accurate 
>(for the Busoni)?

Maybe, maybe not. There is another one listed in Opus, performed by I. & J.
von Vintschger (w other Busoni works on it), on the Jecklin label (dist.
Koch International). I have no date, but it is SPARSed as ADD, which might
indicate it as an older recording. I don't have it and have not heard it.
Also, G.D.Madge has recorded ALL the Busoni solo piano music on Philips,
and it wouldn't really surprise me if he's recorded the 2-piano version of
this work as well, but I have no evidence of that.

	Steve Heller
Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Recomendations on Rachmaninoff's 2nd Concerto for Piano (Cm)?
Keywords: rachmaninoff, concerto, piano
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 12 Nov 1992 07:32:05 GMT

In article <1992Nov12.034351.14665@reed.edu> rseymour@reed.edu writes:
>Paginini? Last, what other pieces, recordings do you consider amoung  
>Rachmaninoff's best (either before or after his counseling).

One word: VESPERS.

-chris
From: ssteigma@scott.skidmore.edu (Stephen H. Steigman)
Newsgroups: rec.music.classical
Subject: Re: PDQ Bach sheetmusic request
Date: 9 Nov 92 17:23:24 GMT
Article-I.D.: scott.1992Nov9.172324.10469
Organization: Skidmore College, Saratoga Springs NY


PDQ Bach (aka Peter Shickele) music is published by Theodore Presser
in Bryn Mawr.  Not sure of the phone number...but they have not only
his music written under the name PDQ Bach, but also his other works
under his real name.


Stephen
-- 
=====================================================
Stephen H. Steigman   INTERNET: ssteigma@skidmore.edu
Skidmore College      VOICE:    (518) 581-6111 
Saratoga Springs NY		
Newsgroups: rec.music.classical
From: potoole@maths.tcd.ie (Peter O'Toole)
Subject: Re: Tchaikovsky's Piano Concerto No. 1
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.
Date: Fri, 13 Nov 1992 13:55:21 GMT

In article <14638.2b011384@ohstpy.mps.ohio-state.edu> egras@ohstpy.mps.ohio-state.edu writes:
>
>
>	While we're asking about best Tchaikovsky recordings, would anyone
>like to recommend a favorite recording of his Piano Concerto No. 1 in Bb minor?

If the recording by Ludwig Hoffman ( with Horst Stein ) is still around,
grab it at once! IMO the definative version.

Peter O'Toole,
Trinity college Dublin.

Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: HAYDN
Organization: Credence Systems Corp. Beaverton, OR
Date: Sat, 7 Nov 1992 23:28:52 GMT

In article <hudu.721036905@well.sf.ca.us> hudu@well.sf.ca.us (Scott Marley) writes:

>If his music sounds all the same to you, I think it's probably because you
>aren't used to the musical language of the time.  Much as the way that
>most baroque music will sound the same when you haven't gotten used to how
>to listen to counterpoint yet.  Haydn's language isn't as foreign to us as
>baroque was, certainly, but it still takes getting used to.

And a universe of different musical entities may be substituted for
"baroque" and "counterpoint" and "Haydn".

						Jeff Winslow
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Dummies (was Re: Bad Brahms)
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Fri, 13 Nov 1992 03:07:23 GMT

In article <1992Nov12.235644.2609@viewlogic.com> Bradford Kellogg writes:
>I think it is implicit in this forum that the use of any superlatives
>are accompanied by an IMHO.

Yes.  This is exactly what we need.  And let's put a :-) in every sentence
too.  That way we can be absolutely sure that we are giving our own opinions
and not someone else's.  We can't be too careful!
From: hapka-christopher@yale.edu (Christopher Hapka)
Newsgroups: rec.music.classical
Subject: Re: Favorite Ring recordings
Date: 10 Nov 1992 10:59:43 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
NNTP-Posting-Host: minerva.cis.yale.edu
Summary: Boehm _Ring_ rocks.

In article <BxHx17.E6E@sci.kun.nl> gerritse@sci.kun.nl (Bart Gerritse) writes:
>Mike Hurben writes:
>
>A friend had the same problems with Solti's Ring. He sold his copy and
>perchased Bo"hm's recording. He is very happy with it: it has everything
>that is missing in Solti's performance, and much more.

I own this recording, and am very happy with it.  I think Boehm understood
Wagner's intentions much better than Solti ever did.  The recording 
quality is generally good; it is a live recording from Bayreuth 1967, so
if you're looking for ultra high fidelity, it's not the way to go, but 
the sound quality is excellent for a live recording everywhere except in
parts of _Siegfried_.  Birgit Nilsson is, of course, _the_ Brunnhilde,
and mention should be made of Theo Adam's performance as Wotan.  All in
all, the souind that comes out is just more convincing than Solti.
From: dvf@kepler.unh.edu (David V Feldman)
Newsgroups: rec.music.classical
Subject: Re: Help Required. Dodecacophony. ;-)
Date: 9 Nov 1992 07:05:00 GMT
Organization: University of New Hampshire  -  Durham, NH
NNTP-Posting-Host: kepler.unh.edu

Atonality - or nontonality - is not a style.  It is a very broad
category that includes many musics as enormously different from one
another as the compositions of Josquin are from Brahms.  (Probably
the very word ``style'' is problematic for much of the output of
the twentieth century, but that is another story.)  So let me
ask the various debaters, pro and con, on the merits of atonality:
What composers, what pieces do you have in mind?  Babbitt? Cage?
Boulez? Messiaen?  Sessions?  Varese?  Webern?  Carter?  Berger?
Takemitsu?  Ligeti? Nono?  Berio? Billy Jim Layton?  :)

This would be a frivilous curse on both your houses if it weren't
for the endemic tendency of the public to make some non-existent
Platonic ideal of modern music a perpetual whipping post.  *Defenders*
of atonal music do it a disservice if they make their case in broad
term - there is good music and bad music under this rubric and in
many cases it is not the pitch structure that is decisive.  

If one is discussing broad stylistic options in the twentieth century,
why always focus on tonality/atonality.  The larger listening public
probably doesn't make a sharp distinction between highly chromatic
tonal music and atonal music anyway.  Distinctions less well known
are probably more salient:  Gestural/nongestural, rhetorical/non-rhetorical,
overdetermined/underdetermined, pulsed/nonpulsed, etc.

David Feldman

x
Newsgroups: rec.music.classical
From: chiu@gpb-mac. (Norman Chiu)
Subject: Re: Best Recordings of "1812" Overture - Thanks
Organization: SPS
X-Newsreader: Tin 1.1 PL4
Distribution: World
Date: Tue, 10 Nov 1992 22:03:00 GMT

Thanks to all the people who recommended the best recording of the "1812"
overture.  I finally ended up buying the following piece:
 
Sir Georg Solti, Conductor  Chicago Symphony Orchestra  -  London Records

And it was indeed excellent!  One of the best that I ever heard.

    chiu@gpb-mac.sps.mot.com : Norman Chiu : Motorola Inc. Austin, TX
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: obscene lyrics advisory--new Baltimore Consort album!
Organization: Camosun College, Victoria B.C, Canada
Date: Tue, 10 Nov 1992 22:01:57 GMT

In article <lg03i6INNqnh@exodus.Eng.Sun.COM> jamesc@bassclar.Eng.Sun.COM writes:
>In article 12262@magnus.acs.ohio-state.edu, jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>>I've heard that the new release by the Baltimore Consort, "The Art
>>of the Bawdy Song:  Music from the Gutters of 17th Century England"
>>due out next Monday, will contain a label warning of lyrics which some
>>may find objectionable.  I find this quite amusing, to say the least--
>>how many teenagers are likely to go rushing out to buy this album?
>>Does anyone know of any other "classical" album which took such an
>>action (and no, P.D.Q. Bach's "pathetic lyrics" advisory regarding 
>>"Classical Rap" (from the "Oedipus Tex" album) doesn't count!)?
>>
>>b.t.w., are there any other fans of the Baltimore Consort out there?
>>I'd like to get some discussion going once this new album is released.
>
>I've enjoyed other Baltimore Consort recordings on Dorian of English
>and Scottish early music, and look forward to their new venture.
>There's certainly enough catches by Henry Purcell (to say nothing
>of his predecessors, contemporaries, and followers) to fill a CD
>with eyebrow-raising lyrics.  
>
>Given the nature of catches, though, the liner notes could be G-rated 
>while the album itself is X-rated.  The juciest obscenities occur when 
>different vocal lines hocket their lyrics together, producing a composite 
>text far hotter than the relatively blameless individual lines.
>
>There's a book from Oxford University Press called "The Catch Book"
>that includes the complete, unexpurgated catches of Purcell and
>about 100 others.  Check it out, as Joe-Bob would say.
>
>There's no lack of ribald texts in other european languages, but in 
>those cases, parents in Baltimore are more likely to be proud of their 
>children's language skills than to fear for their morals.  I recall
>reading that a collection of racy chansons and madrigals by Lassus 
>was issued in Rome with sacred texts substituted for the original
>lyrics.

What we have to bear in mind is that obscenity in those days was
religious rather than sexual. Thus in say a Sheridan comedy, when a
character exclaims 'Zounds!' (contraction of 'by God's wounds', and
thus pronounced 'zoonds') he (usually not she) is swearing, whereas a
reference to sexual or lavatorial bodily function was not considered
obscene. I believe that in many European languages this situation
still holds.

Can we expect Tipper (what kind of name is that anyway?) to be more
active now?

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Re: Piano transcriptions
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 9 Nov 1992 17:22:00 GMT

In article <1992Nov8.055048.16820@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1992Nov7.230235.19687@nuscc.nus.sg> smoliar@iss.nus.sg (Stephen Smoliar) writes:
>>In article <hal.20.721076133@radio.wkar.msu.edu> hal@radio.wkar.msu.edu (Hal
>>Prentice) writes:
>>>In article <17191@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley)
>>>writes:
>>>>I have quite a lot of piano duet arrangements, including Mahler's 9th
>>>>symphony (along with his 1st, 2nd, 3rd, 4th and 5th)... Does anyone know if
>>>>the other symphonies have been released to the public domain (in piano duet
>>>>form, that is)?
>
>>>Whoops!  I'm sorry, I misread your request.  Mahler transcriptions I don't 
>>>know...Schoenberg might have done some since he and Mahler were buds.
>
>>Somehow, I find it hard to characterize the relationship between Mahler and
>>Schoenberg was one of "buds."  Schoenberg had both admiration and respect for
>>Mahler, but I do not know to what extent Mahler overtly encouraged Schoenberg.
>
>Quite a bit, actually.  At times he thought AS was crazy, and once or 
>twice told him off, but he recognized the younger composer's talent
>and insight.  Also, wasn't it Mahler who got up and defended Schoenberg
>when catcalls broke out at the premiere of the Second Quartet?  

Wasn't it the First Chamber Symphony?

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