HDTenEightyP/NetNews huggingface dataset:
From: David.Martland@brunel.ac.uk (David Martland)
Newsgroups: rec.music.classical
Subject: Re: My Own Private Desert Isle
Date: 6 Nov 92 13:37:17 GMT
Organization: Brunel University, Uxbridge, UK
X-Newsreader: TIN [version 1.1 PL6]


     >In article <1992Nov3.140428.23290@visual.com> rwh@visual.com (Rob Holzel) writes:
     >>Depending on the day I was banished, my list would naturally
     >>be different.  Today it would probably consist of:
     >>
     >> 1. Maw - "Odyssey"
     >> 2. Wagner - The Ring
     >> 3. Wagner - "Parsifal"
     >> 4. Brahms - Clarinet Quintet
     >> 5. Mahler - Symphony #8
     >> 6. Mahler - Symphony #5
     >> 7. Handel - "Joshua"
     >> 8. Barber - Symphony #1
     >> 9. Walton - Symphony #1
     >>10. Elgar - Symphony #1
     >
     >OK people, let's get the rules straight. As laid down by the blessed
     >Roy Plomley in 1943: you may take to your desert island eight (8)
     >records, one (1) book - the bible and the works of Shakespeare already
     >being there, and one (1) luxury. N.B. luxuries may have no practical
     >use - for instance when a castaway asked for a piano RP would always
     >insist on an upright - you could shelter under a grand.
     >
     >Please let's stick to the rules.
     >
     >Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
     >

Gome on Deryk -  why not allow a whole truckful of CDs?
I guess the reason is to make people think about what is most important to them!
Also, the original rules, permitted a 30 minute program.

OK, here goes - the Day After Bonfire Day (Guy Fawke's Day) I suggested:

  1.	Mozart: Marriage of Figaro
  2.	Verdi Aida
  3.	Mozart: Cosi Fan Tutte
  4.	Mozart: 41 Symphony
  5.	Beethoven: 3rd Symphony
  6.	Beethoven: 9th Symphony
  7.	Faure Requiem
  8.	Mahler's 2nd Symphony
 (9)	Brahm's 1st Symphony 
(10.) 	Beethoven 9th Symphony	

Ouch - it's horrible. Tomorrow I'll suggest another 10, and the day after
another 10 and so on. I'd hate to be on this island - I need at least
100 discs, preferably 1000.

My discs would actually be different if I were appearing on the Radio program -
how often have we suspected that politicions (for example) choose the discs
that would make them liked by the listeners - to appear more cultured for example,
like our beloved Prime Minister!

Unlike him however, I would not choose the Oval Cricket Ground as my luxury (or
was it Lords?) - I'd probably go for a synthesizer - but would a computer be
more fun? (Animate things are not allowed as luxuries - unfortunately)

Re books - I'd need music for the synthesizer, but if that came with it, then
I would also have the complete works of Dickens if I could get them into one
volume, but if Sue wouldn't allow it I'd go for Bleak House.

I'd probably try to swap the Bible if I could also, perhaps for some of
Richard Dawkins books, but that doesn't seem to be allowed either. Very few of
the radio guests have refused that, although I do believe that some have.

Dave

 


'
From: pieterh@sci.kun.nl (Peter Herweijer)
Newsgroups: rec.music.classical
Subject: Re: Bruckner = Bad Vibes?
Date: 5 Nov 92 10:45:30 GMT
Organization: University of Nijmegen, The Netherlands

In <17148@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
>The reference to the Scandinavian musician becoming ill or feeling nauseated
>after playing Bruckner shortly after WW II was found in a discography of
>Bruckner published in High Fidelity many years ago.

>For me, Bruckner has his moments, some of which are truly extraordinary, like
>the horn passages at the beginning of the 6th symphony. But on the whole I
>find listening to his music like watching a glacier move...it's boring as
>hell. I've never heard a live performance of a Bruckner symphony which
>aroused me out of my lethargy and recorded ones which rise above the level of
>monotony are few and far between.

Bruckner is very difficult to conduct. Listen to Bruckner's ninth
symphony under Bruno Walter in his (I believe) '59 recording (don't
let this date bother you regarding sound quality). If you find
this performance monotonous, give up on Bruckner.

Peter Herweijer
pieterh@sci.kun.nl
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: Need help with SCHUMANN works
Date: Sat,  7 Nov 92 21:38:01 PDT
Organization: The Portal System (TM)

  In article <Bx6n44.2CM@news.cso.uiuc.edu> Richaard Korkosz inquires
about works of Schumann, other than the ones he lists.  You have much
of the better-known Schumann, as well as a few of the more obscure ones,
but there are some well-known ones I would recommend that are not on your
list:  Among piano works there are are the 8 Noveletten, Op. 21, the
Nachtstucke, Op. 23, the Fantasiestucke, Op. 111, and the F Minor Sonata,
Op. 14 (not as well known as the other two, except for the variation movement
on a theme of Clara's - a favorite of Horowitz).  Then there are some 250
or more songs, of which you list only a few.  The principal song cycles that
you don't include are Myrthen, Op. 25, the Liederkreis, Op. 24, Liederkreis,
Op. 39, and (certainly one of his masterpieces) Frauenliebe und Leben, Op. 42.
The string quartets (three of them), Op. 41, are not played often (though more
so than the violin sonatas, which you do have) but are quite enjoyable.  For
orchestral music, the Overture, Scherzo and Finale, Op. 52 is quite fine.  I
don't recall now whether you listed the Manfred Overture, but that is a must
for a Schumann collection and is one of his best-known works.

     Bill Pearce
From: jwh@uncc.edu (jerry holt)
Newsgroups: rec.music.classical.guitar
Subject: Re: Practice Tips for Busy Amateurs?
Date: 10 Nov 92 18:59:34 GMT
Reply-To: jwh@uncc.edu
Organization: University of NC at Charlotte

In article 28533@delfin.com, mr@delfin.com (Mark Rosenberg) writes:
>This group is great! It's frequented by everyone from pre-beginners to
>teachers and concert performers. I bet a lot of the people in this
>group are like myself - somewhere in the middle. I'd love to get some
>advice on how to make effective and enjoyable use of what little time
>I currently have for playing. What with my non-music career, a 3
>year-old son, and other domestic duties, I'm doing well if I can get 1
>hour/day of playing in.
>
>I've been playing off and on for quite a long time now (25 years)and
>have, at one time or another, had music like the Bach Chaconne,
>Prelude from the 1st Cello Suite, VL Etude #1, various Sor studies and
>several Weiss Preludes in my rather technically unrefined repertoire.
>Most of my formal training, and concentrated and disciplined practice
>took place 20 years ago. Since then I've played exclusively for
>enjoyment - I went through a phase about 5 years ago where all I did
>was sight read from the Bellow Renaissance Music collections and some
>of the easiest collections of Sor studies. When I was more serious,
>I used to warm-up with Segovia scales and the Tarrega tremolo study before
>proceeding to work on my repertoire.
>
>Thats the background. Now for the question. Suppose I've got 1 hour
>per day to play and I'd like to clean up my technique but still have
>fun playing real music. How should I split my time between technical
>exercises and working on pieces? Are there any good alternatives to
>Segovia scales? What about dissecting pieces to isolate scales and
>other passage work to use as exercises?
>
>Any ideas will be greatly appreciated.
>
>--
>Mark Rosenberg
>internet:mark@delfin.com
>phone: (408) 562-1126	fax: (408) 748-1140
>snail: Delfin Systems, 3000 Patrick Henry Drive, Santa Clara, CA 95054-1814


A breakdown of 1 hour that I use:

	5 Minutes:  Scales
                        5 Minutes:  Slurs (Hammer-on/Pull-off/combination of two)
                      10 Minutes:  Right Hand exercises
                      20 Minutes:  Music Reading (Learning new material)
                      20 Minutes:   Repertoire

The tough part about getting into this regime is the first 20 minutes can really tire your
hands untill you get some endurance built up in them.  Once you have though, the exercises
really help you get the most out of the next two 20 minute segments.

Jerry W. Holt
internet:jwh@mosaic.uncc.edu
University of North Carolina at Charlotte
Newsgroups: rec.music.classical.guitar
From: colwell@pdx023.world (Robert Colwell)
Subject: Re: String Tension (Was Re: Kohno Classical)
Followup-To: rec.music.classical.guitar
Organization: Intel Corp., Hillsboro, Oregon
	<1992Nov9.090255.21645@menudo.uh.edu>
	<basinski-091192150439@lully.biosci.arizona.edu>
	<1992Nov10.094530.6142@menudo.uh.edu>
	<basinski-101192105147@lully.biosci.arizona.edu>
	<1992Nov11.174026.17853@jarvis.csr
	<basinski-121192132007@lully.biosci.arizona.edu>
Date: Fri, 13 Nov 1992 01:01:06 GMT

In article <basinski-121192132007@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
   In article <1992Nov11.174026.17853@jarvis.csri.toronto.edu>,
   elf@dgp.toronto.edu (Eugene Fiume) wrote:
   > I discovered this without the aid of a teacher (which is why I disagree
   > with Mark to some extent).  My first teacher in fact recommended all
   > hand pressure, which was a losing strategy for me.  My second teacher
   > agreed with my "discovery".
   >
	    Just goes to show that simply because someone offers guitar lessons, you
   don't really know what to expect. Guitar technique is still developing,
   and there are still many conflicting viewpoints; moreover, different people
   have different physical characteristics, so what works for one person may
   have to be adjusted substantially to work for someone else. 

Just as in any other discipline, the good teachers are rare. But that
didn't stop you from learning to drive, and you got through college despite
the average mediocrity. Don't let the idea that there are losers stop you
from seeking out a good teacher; throwing up your hands and going it alone
out of despair is unwarranted. I won't go so far as to say a bad teacher is
better than no teacher at all, that's not true.  But I believe the
distribution is in your favor. And if you do your homework before signing
up with just anybody, you greatly improve your odds. Check around, talk to
people, read books so you can measure what the teacher is telling you
against some other measure. Ultimately, decide for yourself whether you're
getting where you want to go with the teacher you end up with.

Bob Colwell  colwell@ichips.intel.com  503-696-4550
Intel Corp.  JF1-19
5200 NE Elam Young Parkway
Hillsboro, Oregon 97124
Newsgroups: rec.music.classical.guitar
From: lbroda@s.psych.uiuc.edu (Larry Broda)
Subject: Re: Advice from Segovia
Organization: UIUC Department of Psychology
Date: Fri, 6 Nov 1992 17:05:25 GMT

radams@cerritos.edu writes:

>In article <Bx9qn2.Mpr@math.uwaterloo.ca>, 
>alopez-o@neumann.uwaterloo.ca (Alex Lopez-Ortiz) writes:

.
.
.
>has a lot of facility and stretching ability in his left hand. But best of
>all is his obvious love of the guitar and his pleasure in performing which
>he communicates to the audience.  I would definitely recommend hearing
>him if you have not done so.


I have a recording of Barbosa-Lima I made in about 1979 from NPR when
they were running their guitar series with Larry Snitzler (sp?).
Though the live was performance contained a fairly large amount of
minor technical errors (the concert contained a lot of difficult stuff), I
still listen to that recording all the time because that enthusiasm
and love of the instrument do come through even over the radio.
Newsgroups: rec.music.classical.guitar
From: elf@dgp.toronto.edu (Eugene Fiume)
Subject: Parkening [Was Re: Advice from Segovia]
Summary: He ain't all bad!
Organization: Department of Computer Science
Date: 5 Nov 92 22:14:55 GMT

Some people have stomped pretty hard on poor "Christ" Parkening.  On the
whole, I tend to side with them, but there are some things he does beautifully.
I especially appreciate his lovely treble tone while playing legato.

Speaking of good examples of this, is Foster's transcription of
``Sheep may safely graze'' (found on Parkening Plays Bach) available?
Anyone out there play it?
-- 
Eugene Fiume, Dynamic Graphics Project
Department of Computer Science, University of Toronto
elf@dgp.toronto.edu, (416) 978-5472
Newsgroups: rec.music.classical.guitar
From: alopez-o@neumann.uwaterloo.ca (Alex Lopez-Ortiz)
Subject: Re: Advice from Segovia
Organization: University of Waterloo
Date: Thu, 5 Nov 1992 19:16:31 GMT

In article <1992Nov5.024755.7414@netcom.com>, seifert@netcom.com (Rich
Seifert) writes:
> In article <1992Nov2.210013.8818@desktalk.desktalk.com>, rlg@desktalk.com
> (Richard L. Gralnik) writes:
> > 
> > On a tangentially related item, I have a number of Christopher
> Parkening's old 
> > (70's) albums. Has his interpretation changed at all?   I find his
> playing 
> > very clean, but with almost no life, not very singable at all.   (I
> agree with
> > someone else's comment that Lagoya is better than John Williams for
> that reason.
> 
> And I thought I was the only one! I have listened to Parkening many
> times
> and have never had a truly enjoyable experience. I also find his
> techique excellent, but lacking musically. The reference to singing
> the lines is valid. (I don't always remember to do this myself,
> however!)

It seems that this is a common problem in other instruments too. 
There is an interesting article on november's issue of The Atlantic
Monthly where the author claims that modern violinists are technical
masters but lack the sensitivity of some early century ones.

Once I was at a friend's place, and he, knowing that I like guitar played
a guitar CD without telling me anything about it. The sound was so crisp
and clear and with so little timing that I thought it was some kind of 
harpsichord or perhaps an electronic organ controlled by a computer with 
some new sound. Since I was curious about who was performing (Wendy 
Carlos?) I asked for the CD case. The CD? John Williams playing the
"hit parade" of guitar in an angel(?) recording. What a travesti!


> The other strange thing is that I have heard Parkening play the same
> piece
> years apart, and the performance is IDENTICAL every time (no, I'm
> not talking about a recording). It's like he is a machine. 

Right to the point.

> I can tolerate technical errors for better musicality.


-- 
Alex Lopez-Ortiz                              alopez-o@maytag.UWaterloo.ca
Department of Computer Science                      University of Waterloo
Waterloo, Ontario                                                   Canada
Organization: University of Illinois at Chicago
Date: Sunday, 8 Nov 1992 16:08:47 CST
From: <U53519@uicvm.uic.edu>
Newsgroups: rec.music.classical.guitar
Subject:    Eliot Fisk in Chicago 1/31/93

Eliot Fisk will be playing at the Old Town School of Folk Music on January
31, 1993, at 3:00 p.m.  The concert is sponsored by the Chicago Classical
Guitar Society.  The Old Town School is a small hall; advance ticket purchase
is strongly recommended.

Call the society for details: 708 475-7877.

-- Ray Sparrowe
   Department of Management
   University of Illinois, Chicago
From: lbroda@s.psych.uiuc.edu (Larry Broda)
Newsgroups: rec.music.classical.guitar
Subject: Re: Right Hand Studies
Date: 5 Nov 92 16:05:18 GMT
Article-I.D.: news.Bx93Cw.836
Organization: UIUC Department of Psychology


Re: the Romeros vs Williams speed debate:

	I have to agree that Pepe Romero is faster than Williams and
technically flawless.  But the person arguing for Williams seems to be
implying that speed=quality.  Speed is merely a tool, necessary for
executing certain passages and handy for impressing other guitarists,
but never an end in itself.  The fastest guitarist in the world might
be a lousy musician.  Williams may not be as fast as Pepe Romero, but
he is as fast as he needs to be, and is arguably a better musician,
though we are getting into the subjective area of musical
interpretation.  What makes both Williams and Romero great guitarists
is not their speed, but the fact that they have it in control and use
speed where it is appropriate to enhance an interpretation, perhaps
adding excitement to a piece but never distracting the audience
attention from the music to the guitarist.

--
Larry Broda
Dept. of Psychology
Univ. of Illinois at Champaign-Urbana
lbroda@s.psych.uiuc.edu
Newsgroups: rec.music.classical.guitar
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: re: re: parkening
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Distribution: na
Date: Fri, 13 Nov 1992 20:34:44 GMT


In article <6898@dove.nist.gov>, wack@ariel.ncsl.nist.gov (John Wack) writes:
|> 
[stuff deleted]

|> At the risk of many flames, I sense a certain amount of arrogance and
|> high-falootin' behaviour from some of the posters.  I would bet that
|> most of you aren't anywhere as good as Parkening.  He doesn't go around
|> making high claims to his ability, in fact, the guy is quite humble.

Well, I look at this this way: When any of the readers of this newsgroup
release a recording, I would like to hear it.

Cheers
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Yngwie Malmsteen
Date: 12 Nov 92 20:08:08 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <92317.092043KAP118@psuvm.psu.edu>, KAP118@psuvm.psu.edu (Kevin
Polcovich) wrote:
> 
> Yngwie Malmsteen. Any Comments on style, music, etc.?
>                        Just Wondering.....Kevin

  what, is Yngwie a classical guitarist? The ony stuff I've heard from him
is the kind of super-speedy techno-whiz plectrum playing that adolescent
males seem to get a particularly big kick out of - not particularly
interesting musically, at least not to me. Does he play classical
guitar? I'm sure you can get some discussion on him in alt.guitar
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: rjm@lavabo.atlanta.dg.com (Randy Myers)
Subject: Whatever happened to Doug Neidt?
Date: Tue, 10 Nov 92 15:37:52 GMT
Organization: Data General Corp. ASSD, Atlanta, GA

So I went and saw this guitarist about 15 years ago.  Man, did he do a great
"Dead Princess"!!  At the concert, I bought his album; maybe his first.  It has
Ravel's Pavanne, a great "Fandango", some Gershwin, I think.  Really good.
Never heard a thing about him since.  Anybody know the scoop?

(Standard disclaimer)
--
Randy Myers (WB4SPB)                   Email:    rjm@atlanta.dg.com
Data General Corporation
Atlanta Systems Integration Services
Newsgroups: rec.music.classical.guitar
From: pope@physics.su.OZ.AU (The Nightstalker)
Subject: Re: Scarlatti & other matters
Organization: School of Physics, University of Sydney, Australia
Date: Mon, 9 Nov 1992 00:33:58 GMT

In article <basinski-041192160802@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>In article <1992Nov3.032613.14936@ucc.su.OZ.AU>, pope@physics.su.OZ.AU (The
>Nightstalker) wrote:
>> Just to followup on some of the remarks made about Scarlatti, I can vouch
>> for the Flamenco influence in his music...Does anyone know if any of it has
>> been transcribed for piano.
>> 
>Scarlatti. As far as "transcriptions for piano", pianists usually play 
>Scarlatti from the same music a harpsichoridist would, which does result
OOOPs, I meant for guitar!


--

Mick Pope,                                            I      "On Christ the
Sir Frank Packer Dept of Theoretical Physics,     ----+----   solid rock I
School of Physics, University of Sydney,              I       stand, all other
Sydney, Australia, 2006.  (02) 692 3241               I       ground is sinking
                                                      I       sand." - C. Wesley
                                                      I 

And the comment for today is:  

          
 "Great spirits have
  always met violent
   opposition from
   mediocre minds."
   -- Albert Einstein
Newsgroups: rec.music.classical.guitar
From: andersmh@ucsu.Colorado.EDU (ANDERSON  MIKE HOWARD)
Subject: Re: Any molbio types?
Organization: University of Colorado, Boulder
Date: Wed, 11 Nov 1992 20:25:12 GMT

In article <1992Nov11.011048.2167@magnus.acs.ohio-state.edu> gchacko@magnus.acs.ohio-state.edu (George W Chacko) writes:
>
>I work in a molecular biology laboratory which means I have to wear
>surgical gloves all day to protect myself from the reagents I handle
>and vice versa. These gloves are dusted with talcum powder on the
>inside which gets under my finger nails. Excavating the talc from
>under them and washing my nails repeatedly makes them brittle.
>Additionally, if I grow them to the length I like to play guitar with,
>the gloves get lacerated rendering them useless. Has anyone else
>encountered this problem and if so did you find a way around it?
>
>George

This is a problem.  I used to do ceramics and it ate up my nails.  I can't strongly enough encourage you to lo into playing with shorter nails.  They break
less easily, grow back faster when they do, sound better, and help to develop
tactile feedback.  Looking at your hands at eye level, the nail should just
outline the fingertip.  Paco de Lucia (who can blow away Williams and Romero
with one finger tied behind his hand (just to get into the fray)), plays
with short nails and so did Segovia, who despite the Segovia bashing that
has become so popular, was the king of tone.  I don't know about Williams but
I've always found his tone to be thin and "picky".  

Polish does help for protection against talc and clays.  Also, use hand lotions
after each washing. I have started using a product by Lajoe, available in
drug and grocery stores, that covers the nail with a layer of acrylic.  I
like it.

Its a good thing you're not a surgen.

Mike Anderson 
Newsgroups: rec.music.classical.guitar
From: seifert@netcom.com (Rich Seifert)
Subject: Re: Strings
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Distribution: rec.music.classical.guitar
Date: Thu, 12 Nov 1992 21:30:54 GMT

In article <YOOK1.92Nov6033810@husc10.harvard.edu>, yook1@husc10.harvard.edu (Philip Yook) writes:
> What are the best strings to use?


I knew a thread like this would start sometime...

A touchy subject, at best, but I have recently (last couple of years)
fallen in love with the Savarez Alliance (red card/high tension). The
tone color of the trebles is the finest I have heard (on my guitar). 
The basses are also wonderful, but they lose their magic after a few
days. They are passable for a few weeks (I play a lot).

I tried the Alliance blue card/extra high tension and they were just
atrocious. You couldn't make them buzz for anything, but they sounded
just lifeless. I got so annoyed that I took them off the next day
and threw them away.

The guitar has a lot to do with the choice of strings. My instrument
has a wonderful, bright and clear treble, and the Alliances shine. I
also play music that demands a crisp sound (Renaissance and early Baroque).
If you play more Spanish or Romantic or modern music, you might want
a guitar and strings that have a bigger bass, or a rounder sound.

-- 
Rich Seifert                    Networks and Communications Consulting
seifert@netcom.com              (408) 996-0922
                                (408) 996-2860 FAX
"... specialists in Local Area Networks and Data Communications systems"
Newsgroups: rec.music.classical.guitar