HDTenEightyP/NetNews huggingface dataset:
From: mchenry@guvax.georgetown.edu
Newsgroups: rec.music.classical
Subject: <None>
Date: 25 Jul 92 17:34:40 -0400
Distribution: world
Organization: Georgetown University

In article <SOMMERFELD.92Jul23154531@gourmet.apollo.hp.com>, sommerfeld@apollo.hp.com (Bill Sommerfeld) writes:
> I'm looking for a recording of Vaughan Williams's "Folk Song Suite"
> performed by a concert band (the original version was written for
> "military band"); the only one I've been able to find in the record
> stores is a recording of the later arrangement for symphony orchestra,
> which just isn't the same.

These are recordings by brass band of the Folk Song Suite, along with other 
famous works of this genre (* = by Holst): 

*First Suite in E Flat for military band, Opus 28/1
*Second Suite in F for military band, Opus 28/2
The Central Band of the Royal Air Force
Eric Banks, conductor
CD, EMI Records Ltd, CDC 7 49608 2

*Suite No 1 in E flat, Opus 28/1
*Suite No 2 in F, Opus 28/2
*Hammersmith - Prelude and Scherzo, Opus 52
London Wind Orchestra
Denis Wick, conductor
Vinyl Record, Elektra Nonesuch, N-78002

Bill McHenry                   |Those who do not hear the past works
mchenry@guvax (bitnet)         |are condemned to recompose them....
mchenry@guvax.georgetown.edu   |                 -me
From: midkiff@public.BTR.COM (Neil E. Midkiff  midkiff@btr.com)
Newsgroups: rec.music.classical
Subject: Re: Borodin (was: Dvorak)
Keywords: Dvorak
Date: 21 Jul 92 23:50:50 GMT
Organization: BTR Public Access UNIX, MtnView CA. Contact: Customer Service cs@BTR.COM

In article <1992Jul17.141214.7912@magnus.acs.ohio-state.edu>
 jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>
>While we're on the subject, does any of you have a favorite reading of
>Borodin's Quartet No. 2?  I have the one done by the Emerson Quartet which
>I'm very fond of, but I'm interested in alternative interpretations 
>(especially any which are paired with his No. 1).  Thanks.

I've greatly enjoyed the recording of both Borodin quartets by the (surprise!)
Borodin String Quartet.  I have it on EMI CDC 7 47795 2; it was recorded
in 1980 by Melodiya in the USSR.  I hope EMI hasn't deleted it from their
catalog, but if they have, surely someone else is distributing it now on
another label.

-Neil
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: "Story Applause", by Rostislav Dubinsky
Date: 24 Jul 92 18:17:12 GMT
Organization: St. Andrews University, Scotland.

In article <1992Jul23.155511.484@sdi.com> finkel@sdi.com writes:
>
>	 [Please forgive me if this is a repost; I'm pretty sure my
>	 mailer was not working when I originally posted this.]
>
>	 Folks,
>
>	 I recently finished reading the excellent "Stormy Applause -
>	 Making Music in a Worker's State", by Rostislav Dubinsky.
>
[stuff deleted]



iti certainly is a most interesting book. once started its just not put
down! Most memorable are the stories about Shostakovich and the violinst
David Oistrakh. It certainly is a must for any one interested in 20th
century music/and or the former USSR.
Gavin Ramsay
From: amadeus@ccwf.cc.utexas.edu (Susan Harwood Kaczmarczik)
Newsgroups: rec.music.classical
Subject: Commercial tunes (was Re: Question about "Carmina Burana")
Date: 30 Jul 92 18:36:21 GMT
Organization: University of Texas at Austin

Olaf Titz writes:
>Hmmmm.
>
>On Orff, you're right. But on the impression one gets while listening
>/Carmina Burana/ the whole discussion has missed an important point
>(maybe it's important in Europe only): 
>
>Recently Orff's /Fortuna/ has been *ab*used in a whole different genre
>of horror movies (non-:-) :  i.e. TV commercials.
>
>German, Swiss, maybe other Europeans now hear a 20-second /Fortuna/
>cut-out and think: 'Wow! Swiss chocolate!' (no I don't mention the
>brand, as it is known anyway).  Now *that's* secular! And the reason
>they chose Orff for selling chocolate is likely to be just the same
>you stated for the B-pictures.  

What, that fine Swiss chocolate is an instrument of Satan?  :)

That's really funny.  Over here people are associating it
(erroneously) with satanism and blood-letting, and over there it's
chocolate.  I can't even *imagine* it in a chocolate commercial.

I love it.

>To not miss any possible point in commercialization, record companies
>have even dared to sell LPs with selected bits of classical music used
>in commercials (Mozart for champagne etc.); the LP has the same title
>as the original chocolate commercial slogan.

Ah, the "Elvira Madigan" syndrome.  Soon we'll see "The Beef
Commercial," "The GE Lightbulb," "Great Performances," et cetera
(these are current American commercials or TV programs that borrow
their "signature" tunes from the classics).  

I was on the phone the other day with a friend and I had on a CD of
the Brandenburgs, and the "music from PBS," as he called it, came on.
"Hey," he says.  "It's that commercial again."

They could start getting really creative -- "La ci darem la mano" for
insurance commercials, for instance.

Or maybe my newborn's keeping me from any serious sleep of late has
made me crazy...  :)

-- 
-----Susan Harwood Kaczmarczik-------------------------------*<:-)-------------
"Queens never make bargains."  -- The Red Queen, _Through the Looking Glass_
-----amadeus@ccwf.cc.utexas.edu--------------The University of Texas @Austin---
From: tsai@tecrus.enet.dec.com (Kuo-Yeang Tsai)
Newsgroups: rec.music.classical
Subject: Re: Minimalists/Andriessen
Date: 21 Jul 92 21:27:38 GMT
Organization: Digital Equipment Corporation



>Now, who does music which resembles literary minimalism?  Who is the
>Raymond Carver of sound?  Maybe Robert Ashley, or some of the Mills people
>from his tenure there?

Could someone be kind enough to give me a brief description of what 'minimalism'
is all about?

What's the history background that made it happen?

What's its philosophy?

And which piece of music is most representative of minimalist works and
well-known/popular?

Thanks,
kyt
Newsgroups: rec.music.classical
From: pmy@vivaldi.acc.virginia.edu (Pete Yadlowsky)
Subject: Re: minimalism
Organization: University of Virginia
Date: Wed, 22 Jul 1992 20:14:42 GMT

Steve Apter writes

>>Huh?  Why do desires need to be justified? Do I need to justify my
>>desire for a chocolate chip cookie?  If I like one, I like one.

What does this silliness:

]	Music				Eating Cookies
]	-----				--------------
]	concerts			solitary
]	grants	& awards		pay your own way
]	grand theories			side panels on the box
]	has metaphysical implications	ontologically neutral
]	"anxiety of influence"		worry about getting fat
]	best enjoyed in silence		goes with TV
]	makes you famous		keep it to yourself
]	requires justification		does not require justification

have to do with this question:

>>Why do desires need to be justified? 

--
Peter M. Yadlowsky              |  Wake! The sky is light!
Academic Computing Center       | Let us to the Net again...
University of Virginia          |    Companion keyboard.
pmy@Virginia.EDU                |                      - after Basho
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: Minimalists/Andriessen
Date: 21 Jul 1992 12:08:46 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

Here's a list of some of the composers who have been inflicted with
the minimalist label over the years:

John Adams
Laurie Anderson
Louis Andriessen
David Behrman
David Borden
Gavin Bryars
Harold Budd
David Byrne
Terry Conrad
Stuart Dempster
Paul Dresher
William Duckworth
Brian Eno
Jon Gibson
Philip Glass
Simeon Ten Holt
David Hykes
Daniel Lentz
Kerry Leimer
Ingram Marshal
Meredith Monk
Michael Nyman
Pauline Oliveros
Arvo Paert
Terry Riley
Steve Reich
Frederic Rzewski
Somei Satoh
Steven Scott
Chas Smith
Carl Stone
James Tenney
Kevin Volans
LaMonte Young
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Anti-censorship T-shirts
Date: 24 Jul 92 11:09:48 GMT
Organization: Oxford University VAXcluster

> Frank Hoppe writes:
> 
>    I've found a source for T-shirts that say, "I BUY MUSIC FOR MINORS."
>    The Washington Music Industry Coalition is fighting recent restrictive 
>    legislation and is selling these shirts as fundraisers. ...
> 

Could somebody please explain (a) What this slogan means, and (b) What it has
to do with freedom of expression?

-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Newsgroups: rec.music.classical
Subject: Re: Most annyoying use of "Carmina Burana" yet
Date: 29 Jul 92 21:45:54 GMT
Organization: University of Rochester (Rochester, NY)

In article <5617@npg-sd.SanDiegoCA.NCR.COM> ewing@npg-sd.SanDiegoCA.NCR.COM (David Ewing) writes:
>Okay, we're all tired of hearing "Carmina Burana" in films, but
>get a load of this.  The local NBC news affiliate here in San Diego
>has just started airing a promo for their nightly news using this
>piece (as background for lots of shots of their ever vigilant news
>team looking very serious as they uncover the news).  This is being
>aired every 20 minutes or so during the Olympics. Aaarrrgggghhh!!! 
>
>-- 
>*************************************************************************
>David A. Ewing

The opening chorus is currently a big dance club hit. At my favorite club
(Carpe Diem in Rochester NY), it is by far the most popular "song" played
on any given evening. Everyone swarms the dance floor and waves their arms
and fists in the air. I don't know whether I find this encouraging or
depressing.
--
****************************************   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: music@moravian.edu (Steve Heller)
Newsgroups: rec.music.classical
Subject: Re: Recommendation for Requiem music is needed.
Date: 22 Jul 92 13:08:56 GMT

In <1992Jul21.190221.24811@cs.cmu.edu> acid+@cs.cmu.edu (Christopher Colby) writes:

>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.

I also have Victoria's "Responsories for Tenebrae", also on Hyperion
and done by Westminster Cathedral Choir, which is likewise spledid. I
like the Requiem a little more, but both of these disks are highly
recommended to anyone who loves High Renaissance sacred choral music
performed by one of the finest cathedral choirs in the world. 
-- 
*-------------------------------------------------------------------------*
#   "Who let all this riff-raff into the room?!?" - The Surrogate Band    #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
#           [ All opinions are strictly MY OWN! Hands off! ]              #
*-------------------------------------------------------------------------*
From: brad@buck.viewlogic.com (Bradford Kellogg)
Newsgroups: rec.music.classical
Subject: Music in Olympic broadcast (was Re: Can you tell me the name of this
Date: 31 Jul 92 16:32:42 GMT
Organization: Viewlogic Systems, Inc.
Originator: brad@buck


piece of music?)
Keywords: 

In article <31JUL199211043761@lims01.lerc.nasa.gov>, scridd@lims01.lerc.nasa.gov (JEFFREY RIDDLEBAUGH) writes:
|> In article <64442@hydra.gatech.EDU>, gt5571d@prism.gatech.EDU (AB RAHIM,HARMAN SHAM) writes...
|> >Hi!
|> >	Yesterday, while watching the first day of Olympic gymnastic    
|> >competition, I noticed that a piece of music is played over and over
|> >again to accompany the competitors.  I'm wondering if anyone can identify
|> >this piece of music.  Your help is very much appreciated.
|> > 
|> 
|> I believe that it was from the Paganini Violin Concerto No. 2, last
|> movement.

If anyone was watching the conclusion of the women's individual all
around gymnastic competition last night (7/30), the music that accompanied 
the slick slo-mo slop (in case you didn't recognize it) was Borodin's 
"In the Steppes of Central Asia".
Newsgroups: rec.music.classical
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Re: Good version of 'The planets' by Holst?
Organization: Dept. of Mathematics, U. of Chicago
Date: Thu, 23 Jul 1992 18:41:30 GMT

My two cents: if I were you, I would go for Solti on London with the
LSO: a Mars with plenty of bite and menace (unrivalled on recordings,
in my opinion), excellent accounts of Jupiter and Uranus, and very
satisfying in the other numbers. Warning: there exist two issues of
this recording, an early full-priced one, still available a few months
ago and a mid-priced reissue of the same recording, coupled with
"Egdon Heath" and another piece whose title escapes me at the moment,
these last two in dated but still fully acceptable recordings by Boult
and the LSO. A good alternative would be the much underrated
Steinberg/Boston SO on mid-priced DGG (coupled, rather incongrously,
with Ligeti's "Lux Aeterna"). Haitink (Philips) predictably offers
playing of great refinement and technical accomplishment, but with
adrenaline levels dangerously low, his version doesn't really do the
job for me, though I can readily understand the appeal it may have for
others. 

Stuff to avoid: Previn (I don't really remember if this is available
on CD, but if it is I wouldn't touch it with a ten-foot pole: rarely
have I come across such a *boring* reading of the work) and (donning
flame suit :-)), Dutoit. Competent, yes. Well played, yes. Well
recorded, yes (although the col legno tapping in Solti's Mars comes
across much more effectively - hear ye, worshippers of the DDD symbol
:-)!). Inspired? Exciting? Well... I guess to expect that  would be
barking up the wrong tree.

Speaking of Dutoit, why does his recording company keep releasing
stuff of his that doesn't really hit the mark, instead of having him
explore corners of the repertoire that are in dire need of new
recordings? He's wonderful in the French repertoire, and there are a
few other things he does well (an unsuspecting listener would be
surprised at the quality of his Haydn, for example), but there are
other things that he just doesn't to well at all, IMHO. For instance,
I witnessed his rendition of Mahler's 5th with the Philadelphia
Orchestra (in concert), which was simply horrid: it was obvious to
anyone with ears that the guy had no idea of what to do with the
piece. In an effort to put his stamp on the performance, he did a
number of weird things in matters of tempo that did not work at all. I
would be curious to hear what other people who have heard him conduct
the same piece would have to say about his reading.

Incidentally, I was very glad when it was announced that it would be
Sawallisch and not Dutoit who would succeed Muti at the helm of the
Philadelphia Orchestra (contrary to the predictions of most musical
Newsgroups: rec.music.classical
From: colby@tsd.arlut.utexas.edu (Colby Leider)
Subject: Composition
Organization: Applied Research Laboratories, University of Texas at Austin
Distribution: usa
Date: Tue, 21 Jul 1992 20:40:19 GMT


Are there any composers out there on the net?

colby leider
colby@titan.tsd.arlut.utexas.edu
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: minimalism
Date: 31 Jul 1992 16:19:23 GMT
Organization: CS Division, UC Berkeley
Distribution: na
NNTP-Posting-Host: ginkgo.cs.berkeley.edu

In article <92212.212241RHASKINS@UMAB.BITNET>, RHASKINS@UMAB.BITNET (Robert Haskins) writes:
|> 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.

Counterexamples are ridiculously easy to find.  _Pierrot_, _Kind of Blue_. 
Are you quoting him because you believe this?

|> 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.

These possibilities make sense only if we believe a model of stylistic
transition, supersession, significance, etc., etc., really helps us
understand the world of music.  If there were an official musical style,
perhaps the roles elucidated by historians of European music might still be
available, but there isn't.

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

The camp which has heard altogether too much by Glass?  :)

	Vance
From: lampson@tellabs.com (Dave Lampson)
Subject: Re: minimalism
Organization: Tellabs, Inc., IL
Distribution: na
Date: Tue, 28 Jul 1992 22:36:30 GMT

In article <1992Jul24.024235.6141@slc.com> marcs@slc.com (Marc San Soucie) writes:
>Roger Lustig (roger@phoenix.Princeton.EDU) writes:
>> Marc San Soucie writes:
>> >Dare I suggest that Glass is the Mozart/Haydn/Vivaldi of our time? Cranking 
>> >out endless variations in a single style with little significant change? In 
>
>> What does this have to do with Haydn or Mozart?  Do you note a "single
>> style" or "little significant change" between Haydn't Op. 1 quartets and
>> his Op.77? Or between his first and last symphonies?  Even Mozart, with
>> his relatively short mature career (ca. 15 years), completely
>> transformed the genres he worked in, such as comic opera and the piano
>> concerto.
>
>Sure, there are differences, and they are probably more significant than I
>give them credit for, but I've never found the differences compelling
>enough to overcome my frustration with the stylistic ornamentation. So
>let's scratch Mozart and Haydn (though he did crank them out for a while
>there), and just pick on poor old Antonio.


Sorry, Marc, but that doesn't work very well either.  Vivaldi's output was
*incredibly* varied in style (of course it was all still within that late
Baroque idiom).  The variation in instrumentation is extensive, as is his
experimentation with the ordering/number/style of the movements.  This might
not be apparent if one had only heard a few of the concertos from the more 
popular opuses (i.e., Op. 8 #1-4), but once you look farther afield, the 
expected fast-slow-fast structure, for instance, is more often then not 
absent and instead you find four, five and even more movements, sometimes 
verging on suite-like structures, with a wide variety of tempos, orderings,
etc.

And this is to say nothing of the extremely large number of trio sonatas
and operas.  Most of the operas are totally unknown.

Poor ol' Antonio... for being so picked on, his works certainly aren't very 
well-known.

-- 

Dave
lampson@tellabs.com

For detailed lists of Recommended Classical CDs, Basic Repertoire and Buying
Guide access cs.uwp.edu (131.210.1.4) by anonymous FTP, or email me for info.

Contribute to the rec.music.classical biography project!  Email me your bio!
From: mhr@hpuerca.atl.hp.com (Mike Reaser)
Newsgroups: rec.music.classical
Subject: Re: Science Fiction Operas Wanted
Date: 24 Jul 92 18:14:33 GMT
Organization: Scarlett & Rhett's Resp Ctr


What day, time, and place will be panel be?  I'll be at Magicon, and
the discussion I've seen thus far makes this seem like a "can't miss"!


=======================================================================
Mike Reaser                           #include <standard.disclaimer>
Hewlett-Packard                       NBCS: B4 f w g+ k s-
N. Amer. Response Center - Atlanta    I barely speak for me, I _sure_
Internet:  mhr@hpuerca.atl.hp.com        don't speak for HP.....
=======================================================================
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: Can you tell me the name of this piece of music?
Date: 28 Jul 92 11:54:22 GMT
Organization: Oxford University VAXcluster

In article <Bs2F55.6GC@acsu.buffalo.edu>, henning@acsu.buffalo.edu (Karl conjoint Henning) writes:
> AB RAHIM,HARMAN SHAM writes:
> 
>>	Yesterday, while watching the first day of Olympic gymnastic    
>>competition, I noticed that a piece of music is played over and over
>>again to accompany the competitors.  I'm wondering if anyone can identify
>>this piece of music.
> 
> No, I can't.
> 
A guess, since of course I'm getting BBC coverage not [insert appropriate
USAnian TV network], but is it the Freddie Mercury/Montserrat Caballe song
"Barcelona", which would have been performed at the opening ceremony,
presumably in place of that dreadful mishmash of Your Favourite Italian and
French Operatic Themes, had Freddie not died? (Phew! A long sentence!)

> But the reason I'm responding is, the music for the women's gymnastic
> floor exercises struck me as being a "composite";  the first bit sounded
> like a chunk of a Mozartean slow movement, but then the meter & tempo
> abruptly changed (the matter of key was cleverly edited, though), and
> sounded more like a Russianish violin concerto.
> 
Weren't there two seperate pieces, one bit of Mozart(-ish) which began with a
few plinks and was used by the USAniansand the Chinese, and one heavy Russian 
Romantic, with a bit of fiddle solo, which the EUNians used? The BBC
didn't see fit to show us any more than those three teams, so I can't comment
on the rest. Besides, I became very bored with the music very quickly, so I
switched off mentally.

-- 

Stephen Wilcox             |   Remember what happened to the dinosaurs!
wilcox@maths.oxford.ac.uk  |    I did---and look what happened to me.
Newsgroups: rec.music.classical
From: terjer@ifi.unit.no
Subject: Re: Emmanuel Chabrier
Organization: Ifi, University of Trondheim / AVH
Date: Thu, 23 Jul 92 06:34:00 GMT

In article <1992Jul20.153241.15832@linus.mitre.org> rwilmer@zinka.mitre.org (R.
Wilmer) writes:
>In article <1992Jul17.212326.28905@CSD-NewsHost.Stanford.EDU>
spg@Xenon.Stanford.EDU (Stephen P. Guthrie) writes:
>>In Mahler's opinion, Chabrier was one of the greatest composers of the time.
>>What is today's opinion? Other than Espana and Joyeuse Marche what is the
>>best of Chabrier?
>
>Some excellent songs:
>
>L'ile heurese
>Les gros dindons
>Les cigales
>La villanelle des petits canards
>
>Two good operas:
>
>L'Etoile
>Le Roi Malgre Lui

I like Le Roi Malgre Lui a lot. It was just released in Europe on
Erato's Libretto label (Budget price)


Terje
Newsgroups: rec.music.classical