HDTenEightyP/NetNews huggingface dataset:
From: 00hfstahlke@bsu-ucs.uucp
Newsgroups: rec.music.classical
Subject: 20th c. "teaching pieces" for piano
Date: 27 Jul 92 12:49:43 GMT

As a relatively new reader, I'm going to take the risk of posting a query here
that's on a somewhat different thread from what I've been reading--with much
pleasure, I might add.  After thirty years away from it, I've gotten back to
piano-playing, much more for the pleasure of it than when I was a teenager. 
I've been looking around for twentieth-century counterparts to the "teaching
pieces of the eighteenth and nineteenth centuries, things like Bach's Two and
Three-part Inventions or the sonatinas of Kuhlau, Reinecke, Spindler, and the
like.  I found Bartok's _Mikrokosmos_, the Kabalevsky sonatina's, some rather
nice things by Nielsen, and a collection or two, including one of rather easy
pieces put together by Agay.  I would be very grateful if someone could
recommend other works and composers, including things from atonal, minimalist,
and American post-romantic schools. 

Thanks,

Herb Stahlke
Ball State University
00hfstahlke@leo.bsuvc.bsu.edu
Newsgroups: rec.music.classical
From: brian@quake.sylmar.ca.us (Brian K. Yoder)
Subject: Re: minimalism
Organization: Quake Public Access
Distribution: na
Date: Thu, 23 Jul 1992 15:09:06 GMT

In article <1992Jul23.003230.16202@slc.com> marcs@slc.com (Marc San Soucie) writes:
>Brian K. Yoder (brian@quake.sylmar.ca.us) writes:

>> I'm glad to hear that "minimalism" is not your "favorite" genre, but how 
>> can you justify having any desire to listen to it?

>Same way some folk can justify having a desire to listen to Mozart.

Ah, then you see no important difference between a Mozart symphony and
some rattling pots and pans?  Would you also apply the same reasoning to
Other kinds of sounds like those produced by the DJ on the radio? Does it matter
whether he's speaking english?  Whether he's just babbling in no particular
language?  Or just sitting quietly by the microphone?  What do you think is
the difference?

--Brian



Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: Barber's String Quartets
Organization: University of Western Australia
Date: Wed, 22 Jul 1992 04:40:31 GMT

jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
: 
: b.t.w., while we're on the subject, does anyone have any word on whether
: Barber's "Dover Beach" for Baritone+String Quartet is available on CD?
: --jason
: 

It's available on a Masterworks reissue with (I think) the Juillard Quartet
and Dietrich FIscher-Dieskau. A beautiful version of a beatiful work. 

The CD also has Leontine Pryce singing the Hermit songs which are also lovely.
From: thurlow@convex.com (Robert Thurlow)
Subject: Re: Good version of 'The planets' by Holst?
Organization: Engineering, CONVEX Computer Corp., Richardson, Tx., USA
Date: Wed, 22 Jul 1992 14:25:43 GMT
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

In <1992Jul22.190415.12475@phillip.edu.au> t8800568@phillip.edu.au writes:

>... could some kind sole recommend a version of 'The Planets'
>by Holst?  I really want a copy, but there are so many versions of
>this particular piece, that I dont want to be stuck with a dud.

I have the Deutsche Grammophon Von Karajan/Berlin Philharmonic recording
from 1981, and the sound and performance are magnificent.  (DG 400 028-2).
The latest Penguin guide recommends others above it: Dutoit/Montreal (Decca)
and Hilary Davan Wetton/LPO (Collins) are well thought-of.

Rob T
--
Rob Thurlow, thurlow@convex.com
Heaven knows / No frontiers
And I've seen heaven in your eyes			- Jimmy McCarthy
From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Newsgroups: rec.music.classical
Subject: Villa-Lobos' Piano Concertos
Date: 30 Jul 92 00:45:24 GMT
Organization: University of Rochester (Rochester, NY)

Compared to his Bachianas Brasileiras No. 2, Heitor Villa-Lobos' works for
orchestra are not very well known. Last year's release on EMI/Angel of
"Villa-Lobos par lui-meme," a 6 CD set of the composer directing his own
works (CDZF 67229), went far to correct this situation, and now a release
of the five piano concertos adds another relatively unfamiliar dimension
to the musical portrait of Villa-Lobos (London 430 628).   

It takes several listenings to get a grip on these works, not because they
are "difficult" in terms of language or construction, but because they are
so kaleidoscopic. Villa-Lobos' works tend to be stronger on ideas than on
what to do with them; an attractive idea is stated, developed and
discarded to make way for the next one.  As a result, it is easy to get lost
while admiring the atmospheric music, much as one might easily stray off
the path in the Brazilian jungle by becoming distracted by the lush
scenery.  

This is not to suggest that the music is all color and light. The first
concerto is quite stern for this composer, and each of the concertos has
its darker moments. In fact, it may come as a surprise to those who know
Villa-Lobos only for the popular Bachianas Brasileiras that these works
really are not "easy listening" in the way that concertos by Tchaikovsky
and Grieg (for example) are.  

The performances, by pianist Cristina Ortiz and the Royal Phil- harmonic
Orchestra under Miguel Gomez-Martinez, are serviceable but not
spectacular.  Ortiz already has proven herself to be an effective
interpreter of Villa-Lobos' music, but neither she nor the orchestra are as
incisive as I would like them to be.  Part of the problem is the recording,
which is recessed and not nearly bright enough for this music. The colors,
which should be bordering on neon, are only pastels here. There is room for
Impressionism in Villa-Lobos, but there is too much of it here. Even so,
this is interesting music, and it is not likely that better recordings of it
are going to come along soon.  In the meantime, could we have a new
recording of the composer's epic solo piano work "Rudepoema," or could
Teldec reissue their excellent recording with Nelson Freire? Now that was
Villa-Lobos with a bite!  








--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).
Newsgroups: rec.music.classical
Subject: Barseg Tumanyen in Semiramide
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Sunday, 26 Jul 1992 16:04:04 EDT
Organization: City University of New York/ University Computer Center

I saw that Barseg Tumanyen is listes in today's Times as the Assur in the first
series of performances of Semiramide at the Met. My memory is that he was
coarse and off-pitch as Ramfis a couple of years ago. Does anyone else know
anything about him?

I also noticed that they still are not listing a soprano to replace Gruberova
as Semiramide. Does anyone know what's up?
From: kpl@philabs.philips.com (K P Lee)
Newsgroups: rec.music.classical
Subject: Re: Complete Set of LvB Piano Sonatas
Date: 23 Jul 92 11:34:44 GMT
Distribution: rec
Organization: Philips Laboratories, Briarcliff, NY 10510
Originator: kpl@gandalf


In article <1992Jul22.144109.1967@brandonu.ca>, hanly@brandonu.ca writes:
|> There is also a complete set of the sonatas recorded by Claudio Arrau on
|> lp's but I don't know whether they have been released on CD. I found
|> them quite enjoyable but have not really compared them with other versions.

This is available on the Philips label, 432 301-2, 10 CDs.

K.P. Lee                        Philips Laboratories
(914) 945-6249                  345 Scarborough Road
kpl@philabs.philips.com         Briarcliff Manor, NY 10510
-- 

K.P. Lee                        Philips Laboratories
(914) 945-6249                  345 Scarborough Road
kpl@philabs.philips.com         Briarcliff Manor, NY 10510
From: brad@buck.viewlogic.com (Bradford Kellogg)
Newsgroups: rec.music.classical
Subject: Re: Good version of 'The planets' by Holst?
Date: 24 Jul 92 20:50:37 GMT
Organization: Viewlogic Systems, Inc.
Originator: brad@buck


In article <1992Jul22.190415.12475@phillip.edu.au>, t8800568@phillip.edu.au writes:
|> Hello there.
|> 
|> This question might well have been answered recently in an FAQ or 
|> otherwise, but could some kind sole recommend a version of 'The Planets'
|> by Holst?  I really want a copy, but there are so many versions of
|> this particular piece, that I dont want to be stuck with a dud.
|> 
|> thanks!
|> 
In the interest of causing you severe mental indigestion, I would recommend
a performance conducted by Stokowski, if you can find one. I have one that 
is perhaps 15 years old (sorry, I don't recall the orchestra), and it is an 
example of where Stokowski was at his best. I believe he did not mess with 
the score on this occasion, which he often showed an alarming inclination 
to do, and his histrionics actually work well with this piece, so the
dramatic qualities are not subdued or lost.

Ciao!
Newsgroups: rec.music.classical
From: ohl@ips105.desy.de (Thorsten Ohl)
Subject: Re: Wagner's Ring: Solti still unrivalled?
Organization: Deutsches Elektronen-Synchrotron, Hamburg, Germany.
	<OHL.92Jul28214438@ips105.desy.de> <Bs4BLp.8Jr@news.udel.edu>
Distribution: rec
Date: Wed, 29 Jul 1992 00:41:19 GMT

>>>>> On 28 Jul 92 21:27:24 GMT, conrad@brahms.udel.edu (Jon Conrad) said:

[ Boulez' Ring: ]

tho> And without doubt (at least for me), Boulez' conducting more than
tho> makes up for some problematic vocal performances.

Jon> I'm very uncomfortable with the idea that one element can "make
Jon> up for" another that's below minimum acceptable standards.

Agreed.  But because there is no such thing as a ``perfect recording''
-- some come close, though --, sometimes one has to be satisfied with
one side of the coin ... (and read about the other side in the score :-).

BTW: What do you think of the recently rereleased Boulez Parsifal?  I
can't really say that I'm satisfied with the singing ...

Jon> A fourth video RING is on the way, by the way.  (The third is a
Jon> Sawallisch/Munich version, issued only in Europe as far as I know.)

I heard the broadcast of the latter's premiere: let's hope they have
had some rehearsals before they taped it :-).

Jon> This is the Kupfer/Barenboim Bayreuth production, taped this
Jon> summer and last after a 5-year run.  I saw it in its first year,
Jon> and found it the most human, touching rendition I've seen, though
Jon> not without its own idiosyncracies.

Did you like Barenboim's conducting?  I only heard excerpts from this
Ring, so I shouldn't judge.  However what I heard was incredibly slow
and didn't convince me.  Neither did Bruennhilde ...   But Siegfried
Jerusalem was probably never better than in this production.

Jon> [ C. Ligendza ... ]  She could pull it together wonderfully well
Jon> on occasion.  I treasure the TRISTAN issued by Legendary
Jon> Recordings, Bayreuth 1976, with her, Spas Wenkoff, and Yvonne
Jon> Minton, conducted by Carlos Kleiber.

Anybody wanna make some bucks and sell me a copy? :-)


[ ... Dohnanyi/Cleveland Ring ... ]

tho> I think (!) that Gabriele Schnaut will sing the Bruennhilde.  She
tho> was the Ortrud in the most recent Tannhaeuser at Bayreuth.

Jon> Ahem. Lohengrin?

Oops.  (Now I will have to wait another 7 years for Bayreuth tickets ...)

Jon> I found her Ortrud impressive when I saw it in 1988.  She sounded
Jon> like a good loud dramatic mezzo to me, though, not a soprano on a
Jon> Bruennhilde scale.  And certainly not one to be immortalized on
Jon> disc.

I have not heard her since she changed the ..... (<- fill in the
english word for the german ``Fach''), but I know that this has been
planned for quite some time.  It's risky, but it might work.

Thorsten
--
////// Thorsten Ohl, DESY (-T-), Notkestr. 85, W-2000 Hamburg 52, F.R.G.
///////// net: ohl@crunch.ikp.physik.th-darmstadt.de, ohl@gnu.ai.mit.edu
//////////////////////// voice: +49-40-8998-3699,  fax: +49-40-8998-3282
Newsgroups: rec.music.classical
From: cam@mullet.gu.uwa.edu.au (Cameron Neylon)
Subject: Re: Question about "Carmina Burana"
Organization: University Computer Club --- Perth, Western Australia
Date: Fri, 24 Jul 1992 03:14:31 GMT

tsai@tecrus.enet.dec.com (Kuo-Yeang Tsai) writes:



>I am going to attend the "Carmina Burana" concert at Tanglewood this
>coming Augst 8th and I have a question which has been on my mind for
>a long time.

>Why does it (Carmina Burana) sound demoniac? 

>Even without reading the somewhat offensive lyrics, friend asked
>"Is this Satan-worshipping music?" upon hearing the first few 
>passages.
I hardly see that it sounds demonic. The first movement admittedly
is a very impressive and big, noisy etc. but its meant to be about fate
and the perpetual march of time, and exciting things like that.

The other movements don't (to me at least ) even vaguely suggest
devil worship. Take the dance and "blanziflor et helena" for instance
Both are exciting and full of exuberance, hardly terror.

I think the reason the first movement sounds demoniuc is that it
has benn used too many times in movies to create the scene for
devil worship scenes, rather than th other way around.

Cameron Neylon
cam@gu.uwa.edu.au

Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Recommendation for Requiem music is needed.
Date: Tue, 21 Jul 92 19:02:21 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <music.711664100@batman> music@moravian.edu (Steve Heller) writes:
>In <1992Jul20.190427.199691@cs.cmu.edu> acid+@cs.cmu.edu (Christopher Colby) writes:
>
>>Wait.  I have a Tallis Scholars disc with a piece by Victoria simply called
>>"Requiem".  It is about 45 minutes long, I think.  It is absolutely
>>beautiful, but I wonder which one it is -- the first or the second.
>
>Doesn't it list the date of publication? I figured the Tallis Scholars

Don't bother checking anything; I'm sure the Tallis Scholars disc does have
all relevant information.  It's just that I didn't have it here in the
office.  In fact, I've loaned it out.  At any rate, I suspect that it is
indeed the 2nd, but not the recent revised version.  Too bad; I would have
liked to have heard more of the same.  I bought another Victoria disc
(forgot exactly what), but the music just wasn't nearly as good, IMHO.

-chris
Newsgroups: rec.music.classical
Subject: Re: minimalism
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Date: Thursday, 30 Jul 1992 21:22:40 EST
 <1992Jul28.223630.17101@tellab5.tellabs.com><l7do04INNfng@calvin.usc.edu> <156ooqINNp9k@agate.berkeley.edu>
Distribution: na
Organization: University of Maryland at Baltimore

Leonard B. Meyer suggested (in the sixties) that we are currently in a "steady-
state" in which no new musical style supercedes that which preceded it, as
has thought to be the case (underline "thought to be the case") in past
epochs.  He also says that, before the finest essays in a musical style
can be produced, it is necessary for its composers, performers, and listeners
to have absorbed fully that style's potentials -- to have, in effect, in-
ternalized the characteristics of that style.

Given this rather digressive preamble, it might be possible to view Glass
as a figure in music's transition.  Depending upon your point of view, he
might resemble C.P.E. Bach or Stamitz, and thus his overall significce will be
(pardon the _bon mot_) minimal.

However, it just may be that he might end up resembling another transitional
figure who had far greater significance: Monteverdi.

And since I recently finished my thesis on Glass's music from 1965-75, can
you guess into which camp I fall?

Bob Haskins <RHASKINS@UMAB>
__________________________________________________________________
"The world is everything that is the case." -- Ludwig Wittgenstein
__________________________________________________________________
From: lung@oasys.dt.navy.mil (Terence Lung)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's violin concerto
Date: 29 Jul 92 17:45:34 GMT
Reply-To: lung@oasys.dt.navy.mil (Terence Lung)
Organization: Carderock Division, NSWC, Bethesda, MD

givler@bermuda (Greg Givler)
in Message-ID: <33773@cbmvax.commodore.com> writes:
>>3. Can you recommend any good CD recordings of this concerto?  I like
>>   the one I have on cassette but I want to see if I can find a better
>>   one.  I realize that different people have different idea of a
>>   "good" recording but I'd like to get your opinion on your favorite
>>   and what you like about it.
>
>Personally I like Perlman, I know he has recorded it, but I don't know
>with whom.
I believe it is Guilini and whatever orchestra he conducts on the
EMI label.

>Presently I do not own a copy of this concerto, but it is 
>on my list of things to buy.
Bummer.  I've got one.  What are you waiting for?

Yes.  I agree.  This is an excellent recording.  It is highly rated
in the Stevenson and another CD guide.

Terence
Newsgroups: rec.music.classical
From: spg@Xenon.Stanford.EDU (Stephen P. Guthrie)
Subject: Festin d'Araignee
Originator: spg@Xenon.Stanford.EDU
Organization: Computer Science Department, Stanford University.
Date: Sat, 25 Jul 1992 22:12:14 GMT

I was thinking of getting a recording of Roussel's Festin d'Araignee (sp?)
ie. The Spider's Banquet, but it seems there are two versions: the full
ballet and the suite/symphonic fragments. Does anyone know the difference?
How much music do you lose with the fragments, do you miss any important
sections (are there any vocals in the full ballet)?

   Thanks

Newsgroups: rec.music.classical
From: agjeung@leland.Stanford.EDU (Andrew Gee Jeung)
Subject: concert info wanted
Organization: DSG, Stanford University, CA 94305, USA
Distribution: seattle or ca
Date: Thu, 23 Jul 92 09:44:59 GMT
Expires: 15 Aug 92 

I am planning to take a trip by car from San Francisco to Seattle over the
week of August 24.  I would appreciate any information about classical music
concerts taking place anywhere in my path (basically anywhere in Northern
California, Oregon, or Washington state) during that time.  I am especially
interested in orchestral performances or anything by Beethoven.

Please respond by e-mail; I do not read this newsgroup regularly.

Thanks for your help.

Andrew Jeung
agjeung@leland.stanford.edu

Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: 20th c. "teaching pieces" for piano
In-reply-to: thomast@dip.eecs.umich.edu's message of Mon, 27 Jul 1992 23:59:55 GMT
Organization: pubs
	<1992Jul27.235955.4711@zip.eecs.umich.edu>
Date: 28 Jul 92 10:37:40 CDT


For a playable modern work, I recommend, based on personal experience,
Bartok's Six Rumanian Dances.  If I can handle it, you can too, and it's
well worth the effort.  There are a couple of rhythm issues that might
be hard to grasp if you don't listen to a recording.

Does anyone know the collection of waltzes that was published sometime
in the last ten years?  They're by every composer you can imagine,
including Philip Glass.  Some of them look accessible.

Chris Brewster
Newsgroups: rec.music.classical
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: Violinist in Joan Crawford movie?
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Date: Thu, 30 Jul 1992 19:20:51 GMT

In article <CB.92Jul30122352@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>Thayes writes:

>   >I saw a movie last week about a violinist.  The movie was made probably in
>   >[stuff deleted]
>   >But anyway, does anyone know the title of the film?  And furthermore, does 
>   >anyone know who the violinist was on the movie's (primitive) sound track?

>Gabe M Wiener writes:

>   The movie is called Humoresque, and it's out on video.  The violinist 
>   was Isaac Stern.

>Isaac Stern and Hollywood: I heard the startling story that, at about
>age 20, he was bumped from a flight so that an actress could get back to
>Hollywood quickly, and that plane crashed.  The actress could have been
>Carol Lombard.

And was, too.  (CarolE Lombard, actually...)  She had been stumping for
war bonds, and wanted to get home to Gable quickly.

Roger
>
>Chris Brewster
>cb@cray.com
>
From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Newsgroups: rec.music.classical
Subject: Re: S.O.B. 2000
Date: 26 Jul 92 15:31:56 GMT
Organization: University of Rochester (Rochester, NY)

In article <1992Jul25.211552.20905@doug.cae.wisc.edu> bonness@cae.wisc.edu (Matthew Bonness) writes:
>Has anyone heard the new Wendy Carlos album 
>_Switched on Bach 2000_, and would like to post
>a review of it?

As a matter of fact, I posted a review of it here last month. Where were you?
My overall impression was very favorable, and if you'd like more info
then please email and I'll send you the complete review, which I think I
still have.
--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).
From: mchenry@guvax.georgetown.edu
Newsgroups: rec.music.classical
Subject: Re: Barber's String Quartets
Date: 21 Jul 92 17:11:11 -0400
Distribution: world
Organization: Georgetown University

In article <1992Jul20.232501.8960@magnus.acs.ohio-state.edu>, jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
> In article <1992Jul20.182257.8109@oakhill.sps.mot.com> hohl@oakhill.sps.mot.com (William Hohl) writes:
> b.t.w., while we're on the subject, does anyone have any word on whether
> Barber's "Dover Beach" for Baritone+String Quartet is available on CD?
> --jason

The only CD version I know of is:
Dietrich Fischer-Dieskau and the Julliard String Quarter
Masterworks Portraits MPK 46727.

Bill McHenry                   |Those who do not hear the past works
mchenry@guvax (bitnet)         |are condemned to recompose them....
mchenry@guvax.georgetown.edu   |                 -me
Newsgroups: rec.music.classical