HDTenEightyP/NetNews huggingface dataset:
From: jfl@panix.com (Jeff Lipton)
Newsgroups: rec.music.classical
Subject: Re: NYC record stores
Date: 23 Nov 92 05:47:27 GMT
Organization: PANIX Public Access Unix & Internet, NYC

In article <1992Nov16.103341.1@pearl.tufts.edu> edente@pearl.tufts.edu writes:
>IIn article <1e69m8INN552@menudo.uh.edu>, chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789") writes:
>> 
>> Hi...  I'm off to New York City next week, and would like to check out some 
>> record stores while I'm there.  I'm especially interested in obscue labels and
>> imports, rather than cheap prices, *per se*.  Where are the good stores?
>> 
>> Please e-mail or post as you prefer.
>> 
>> Thanks,
>> Bill
>> 
>> 
>> + ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
>> | Bill Harrison,            \             /       "Be as radical as... |
>> | University of Houston, TX  >-----------<         reality itself"     |
>> | CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
>> + ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
>
>I'd like to second this request.  I'm particularly interested in used CDs.
>Are there any stores with large collections of them?
>Ed Dente
>edente@pear.tufts.edu           "Vendetta ti chiedo,
>                                 La chiede il tuo cor..." - Donna Anna


Try Academy books, on 18th street between 5th and 6th avenues. Excellent
collection of used LPs and CDs at reasonable prices. Also an interesting
selection of all sorts of used books. For the vastest collection of LPs,
go to G&A on 72d street near B'way - they have everything ever issued 
(well, almost).... for a price... J&R music world on Park Row near city
hall has a complete selection of current (in-print) CDs, and the best
prices in the city (cheaper by $1 or so per disk than Tower).

 - Jeff

-- 
+----------------------------------------------------------------------------+
| Jeffrey F. Lipton, M.D. (jfl@panix.com) |   (212)-982-1219 (home)          |
| 353 E. 17th, #19-E  NY, NY 10003        | "Disobedience was Man's First    |
+------------------------------------------------ Virtue" (Oscar Wilde) -----+
Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: Music to calm down by
Organization: Helsinki University of Technology, Finland
Date: 23 Nov 92 02:10:22

In article <3344@voodoo.UUCP> das@voodoo.boeing.com (Deb Schwartz) writes:

>At work these days, I seem to be in a constant state of stress, and have
>been thinking that some soothing music might help greatly.  I love classical
>music, but don't have a whole lot of exposure to it.  I would greatly
>appreciate recommendations for music that has a calming effect.

  I do not want to argue about what you really need, but after having
  read a host of messages on the subject, I came to think that it might
  not be exactly soothing music or music that has a calming effect that
  would be best to relive that stress of yours. I'd recommend that you
  look through the music you like and get those pieces that have a quite
  strong emotional effect on you so that momentarily you can forget 
  everything about work and all those problems. Depends also on whether
  you intend to listen to the music where you are working or at home.

  What I'm listening to all the time and what makes me forget this world,
  is Bach. I listen to everything he composed, cantatas, masses, passions,
  organ music, piano, violin and 'cello music, orchestral. My other
  favourite composers in this respect (otherwise, too) are Bruckner, 
  Mahler and Messiaen. Not that it would be advisable to listen to their
  works with colleagues very near...

  An afterthought: if you find some Venetian brass music, that could
  be worth listening to, also (the most famous of the composers is
  Giovanni Gabrieli).
--
!
!	Jyrki Wahlstedt
!		Jyrki.Wahlstedt@hut.fi
!
!  Our life is no dream, but it should and will perhaps become one.
!
From: hal@radio.wkar.msu.edu (Hal Prentice)
Newsgroups: rec.music.classical
Subject: Re: John Williams, both o
Date: 19 Nov 92 15:40:27 GMT
Organization: Broadcasting Services, Michigan State University

In article <1869.3163.uupcb@synapse.org> ian.murray@synapse.org (Ian Murray)  writes:
>From: ian.murray@synapse.org (Ian Murray) 
>Subject: Re: John Williams, both o
>Date: 17 Nov 92 21:12:00 GMT
>On 11-15-92, Mike Quigley wrote to All regarding Re: John Williams, both o
>
>
>MQ>John Williams plays the music of John Williams, conducted and 
>MQ>arranged by
>MQ>John Williams.
>MQ>
>
>Ladies and Gentleman... The John's William's!!!
>
>---
> . WinQwk 2.0 #0 . Unregistered Evaluation Copy
>                                                                                                      
Don't forget the English oboist, John Williams.
----------------------------------------------------------------------
Hal Prentice, FM Program Manager      Michigan State University
WKAR-FM, 283 Communication Arts Bldg  East Lansing, MI 48824-1212 USA
Internet: hal@radio.wkar.msu.edu      Bitnet: hal@radio.wkar.bitnet
----------------------------------------------------------------------
Newsgroups: rec.music.classical
From: alexande@borland.com (Mark Alexander)
Subject: Re: Brahms
Originator: alexande@genghis.borland.com
Organization: Borland International
Date: Mon, 16 Nov 1992 19:23:44 GMT

In article <1992Nov14.191535.4927@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
>There's a set of 3 in Eb (Lullaby), Db Major and C# Minor which
>I don't see how anyone could not appreciate. 

This is the Op. 117.  The second piece is actually B-flat minor, but it's
a mini-sonata and the second theme is indeed in D-flat major.

I love this set too, and played it in my first recital.  But I don't
think it's universally appreciated.  For many listeners, three tragic
Andantes with little relief can be a bit much.  The lullabye isn't
terribly comforting either; the middle section is about as gloomy as
you can get.
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Help Required, but no more art dodeco.
Date: 16 Nov 92 02:54:08 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Nov16.000916.17708@credence.com> jeffw@or.credence.com (Jeff Winslow) writes:
>In article <1992Nov15.005354.17611@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:

>>Actually, the blues has a harmonic rhythm that's quite different from
>>the uses of the "primary" triads in Western art music in general.  You
>>have to go back to Banchieri and the like to find anything like it.
>>And there's *nothing* to compare to its modal peculiarities, rhythms,
>>performance styles, etc.

>This reminds me of a day way back in first year music history. We were
>looking at 16th century Italy, and the professor put on some music, I
>can't remember who by, full of strong rhythms, very little counterpoint,
>and all the harmony was I, IV, V, and flat VII, all in root positions. It
>sounded so much like a certain kind of rock, a number of people in the class
>started laughing.  But on rereading what you wrote, I would guess this
>was not Banchieri.  Who might it have been?

Actually, it might have been.  Mixolydian mode stuff can have a bVII in
it.  Great example: Schuetz's early psalm setting, "Herr, unser Herrscher."
Schuetz exploits the vowels of the opening line by setting the first few
words with tonic G chords and subdominant C chords; when he gets to "Name"
in "wie herrlich ist dein Name", the important word, with its brand-new
vowel, gapes open with a huge, widely spaced F chord.  All this is in
root position.  

But you can find this sort of harmony in Lasso, too.  And when the 
standard dance patterns become more and more integrated into "higher"
forms towardthe end of the century, the root-position patterns we're 
talking about become standard.  Look through late-16th-c and early 17th-c
venetians especially.  You'll find tese harmonies again and again.

Roger
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Why not a rec.music.contemp group?
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Wed, 18 Nov 1992 21:36:48 GMT

In article <1992Nov18.181529.2090@Princeton.EDU> Margaret Mikulska writes:
>In article <1992Nov18.161723.12482@jhunix.hcf.jhu.edu> Francois Velde writes:
>>Why not indeed? 
>Because 20th C music is a natural, continuous extension of the older
>music.  It would be deleterious, even pernicious, and altogether a Bad
>Thing to isolate contemporary music in a separate group.  One of the
>problems that new music faces is the inability of listeners to see that
>this music developed from earlier music, and that there is no dividing
>line between the "modern" music and the "classical canon".

Absolutely.

T. M. McComb
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: #1 Brahms & Wagner #2 Brahms & Rachmaninov
Date: 17 Nov 92 17:24:04 GMT
Organization: DSC Communications Corp, Plano, TX

The amazing thing about the pianism of Brahms's concertos is that
he gets the most magnificent and powerful, even cosmic sounding
effects with what on paper appear to be totally unlikely devices.
When you play the piano part alone, it seems to violate all
good sense about what is pianistic. And played alone the passages
do sound unpianistic. But the effect of the whole, piano and 
orchestra together, is stupendous from the most thundering
passages to the sublimely ethereal.  This is especially true of the
second concerto.  The first movement is full of parts where the
extreme high and low ranges of the piano are played together with
nothing in the middle.  They sound awkward and empty played alone.
The dramatic high point is the titanic struggle that ends the
exposition, and the high point of ethereal sublimity is, always
IMO of course, the shimmering lead in to the recapitulation.  What
makes them whole is the orchestra, which is in this sense a pianistic
device as well. 

I am enough of an amateur pianist that I can sometimes muscle my
way through the technical difficulties of a piece to experience
at least passages from it.  With Mozart and Beethoven concertos
it works, but I have never been able to get this experience with 
the Brahms concertos.  Even if I can master a passage, it is not
satisfying playing it alone. As for professional performances, less
than thorough technical mastery and a comprehensive ear for the whole 
can make the Brahms sound unpianistic.  I remember hearing a performance
by Barenboim that, while it was technically OK as far as the notes
were concerned, just seemed loud and thumping and as if the orchestra
and piano were playing in two different spaces.
  
I have always thought that the greatest interpreter of Brahms's
concertos was Arthur Rubinstein: The B-flat In the 50's recording 
with Munch and, to a great extent, his last recording with 
Ormandy capture both the pianistic and the comprehensive dramatic 
essense of the work better than anyone I have heard. For the D-Minor, 
there is only the Reiner recording, which is magnificent in spite of 
some technical flubs. He was technically out of it when he made his 
last recording with the Israel Philharmonic.

On the other hand I have never cared for Rubinstein's performances
of Tchaikowsky and Rachmaninoff, though I do like those pieces.

Does anyone have any other candidates for the Brahms concertos?

Gerry Palo (73237.2006@compuserve.com)
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: The worst composer ever
Organization: University of Western Ontario
Date: Sat, 21 Nov 1992 01:48:27 GMT

It's a poll--who do you think is the worst famous composer of them all?

Let me start it off. I think it's Delius. Then again maybe it's Arthur 
Bliss.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Blomstedt announces 1995 retirement from SF Symphony
Organization: Visual
Date: Wed, 18 Nov 92 18:27:31 GMT

A friend of mine from SF says that Blomstedt will be leaving the SF
Symphony in 1995.  Insider track on his possible successor:
Andre Previn.
From: abrocke1@cc.swarthmore.edu (Aaron Brockett)
Newsgroups: rec.music.classical
Subject: Re: Tuba
Date: 20 Nov 92 02:21:06 GMT
Organization: Swarthmore College

In article <1992Nov18.223647.4296@osf.org>, dbrooks@osf.org (David Brooks)
writes:
> 
> 
> As well as that well-known weirdo RVW (he *could* be a little strange at
> times), Derek Bourgeois has written a Bass-tuba concerto.  John White wrote
> a symphony for organ and 6 tubas (I don't know if the organ part called for
> the Tuba stop) and Walter Hartman wrote a Tuba sonata, op. 76.
> 
> I'm surprised there aren't more; the tuba is a surprisingly agile and
> melodious instrument.  See, for example, the development section of the
> Meistersinger overture.
> -- 
> David Brooks					dbrooks@osf.org
> Open Software Foundation			uunet!osf.org!dbrooks
> All|berall und ewig blauen licht die Fernen!  Ewig... ewig... earwig... O!
> 

One more work for tuba: Chinary Ung, a contemporary composer who emigrated
to the U.S. from Cambodia in the early sixties, wrote a piece called Spiral
II for mezzo-soprano, tuba and piano in 1989. It's quite a piece!

--Aaron
Brockett
Newsgroups: rec.music.classical
From: shire@dorsai.com (Kenneth Shire)
Subject: Re: Boos (was: Favorite Ring recordings)
Organization: The Dorsai Embassy, New York's Computer Consulate. +1.718.729.5018
Date: Fri, 20 Nov 1992 02:49:18 GMT

> team, as Jon related), I cannot think of any occasion where I have heard
> anything more that a timid isolated boo (at best) in an American theater
> or concert hall.
> 
Then you haven't met someone who was at Renata Scotto's first performance 
at the Metropolitan Opera as Norma.  James Levine had essentially hired 
Scotto as his personal house soprano.  She got more than her share of new 
productions, whether merited or not.  Well, when they gave her Norma, 
some folks had just had enough of poor Scotto and booed her lustily 
before she opened her mouth to sing note one of Casta Diva.  The whole 
mess was unfortunate, because Scotto seemed involved in a quite conscious 
effort to earn for herself the mantle of singing-actress left vacant
with the death of Callas.  In performances of Lucia and Zandonai's 
Francesca, it looked like Scotto would master Callas's dramatic approach 
and even go on to her own individual contribution to her roles.  All this 
ended with the Norma scandal.  She has rarely been heard at the Met 
since.  
Newsgroups: rec.music.classical
Newsgroups: rec.music.classical
Date: Sun, 22 Nov 1992 00:48:11 -0500 
From: Sam Swett <ssbc+@andrew.cmu.edu>
Subject: Re: The worst composer ever

   That seems like a really dumb question. Who cares? And what exactly
is a famous composer? Someone whose name is in the dictionary? In a
music history book? 

   Look, I know this is a rude reply, but sheesh! Can't we think of
anything else to talk about?


---------
-sam, wearing Nomex(tm) underwear
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Musicians rubbishing composers
Date: 20 Nov 1992 17:48:13 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Michael J Valinis (mvalinis@magnus.acs.ohio-state.edu) wrote:
: Then there's the job Humperdinck did on himself:
: 
: "At first I thought I should be a second Beethoven; presently I found that to 
: be another Schubert would be good; then, gradually, satisfied with less and 
: less, I was resigned to be a Humperdinck."


RVW said of his own 4th symphony: "It's what I wanted but I'm not sure
that I like it."
From: la@dcs.ed.ac.uk (Lewis Alderton)
Newsgroups: rec.music.classical
Subject: Re: Carmina Burana
Date: 17 Nov 92 13:21:08 GMT
Organization: Department of Computer Science, University of Edinburgh

In article <1992Nov16.195956.9360@mccc.edu>, pjh@mccc.edu (P. J. Holsberg) writes:
> Any idea where I can get the English translation of Orff's "Carmina
> Burana"?  Thanks.
If you go along to a record shop and look inside the
album sleeves you will find that some have a translation
inside -- can't remember which labels tho' but I have
seen one. (honest)
-- 
+--------------------------------------------------------------------+
|                 |I do not know what I may appear to the world, but |
| Lovely Louie    |to myself I seem to have been only like a small   |
| la@dcs.ed.ac.uk |boy playing on the sea-shore, and diverting myself|
|                 |in now and then finding a smoother pebbly or a    |
|                 |prettier shell than ordinary, whilst the great    |
|                 |ocean of truth lay all undiscovered before me.    |
|                 |           SIR ISAAC NEWTON                       |
+--------------------------------------------------------------------+
Newsgroups: rec.music.classical
From: cerrlss@techunix.technion.ac.il (Shahar Steiff)
Subject: Re: Bare Vs. Bold
Organization: Technion, Israel Institute of Technology
Date: Mon, 16 Nov 1992 06:14:13 GMT

>vs. Bear Valley vs Bald Eagle.

O.K., O.K., Can we please stop this silly game ?
So, my english isn't THAT good. I wrote "bold" but meant "bald".
Sometimes I sing A-flat when the notes say A-sharp... 
"To err is human, To blame others for my errors is even MORE human"
-- 
 /=== 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==/
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Brahms Violin Concerto
Date: 18 Nov 1992 10:49:29 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

: In article <1992Nov16.220857.7299@msc.cornell.edu> tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker Lab,54810,2720402) writes:
: >
: >Ginette Neveu, if you can find it.  Incandescent, white-hot, incredibly 
: >intense all come to mind (not to mention passionate) in trying to describe
: >it; listening to it is a searing experience.
: >

Totally endorsed. Every other version of the Sibelius sounds slightly
tame by comparison. She also did a version of Hora Staccata and 
Scartalescu's Bagatelle that make them sound as improvised as they
originally were. 

The Grumiaux version of the Brahms is good too, if you can find it (I
have it on 78, I don't know if he's made it to CDs. 
Newsgroups: rec.music.classical
From: scottus@bach.udel.edu (Scott Arthu Saracco)
Subject: Atlantis
Organization: University of Delaware
Distribution: na
Date: Wed, 18 Nov 1992 00:30:39 GMT


Newsgroups: rec.music.classical
From: packer@amarna.gsfc.nasa.gov (Charles Packer)
Subject: Light reflecting off LPs
News-Software: VAX/VMS VNEWS 1.4-b1  
Organization: Dept. of Independence
Date: Sun, 22 Nov 1992 11:36:00 GMT

In article <1992Nov21.021048.17702@nuscc.nus.sg>, smoliar@iss.nus.sg (Stephen Smoliar) writes...
>In article <1992Nov17.134830.17534@husc3.harvard.edu>
>elkies@ramanujan.harvard.edu (Noam Elkies) writes:
>>There was/is a fellow who could recognize a classical LP (sans
>I once heard James Randi talk about this guy.  He really could only distinguish


The related story I saw was in the NY TImes in the late 70s/early 80s
when there was a lot more peculiar stuff in that paper. I recall that
he was a physician and he could identify a disk from across the room.
Was this the same guy? I recall also that he had a friend or two
who could also do the same thing. At least one of them was also a
physician, and they got together for informal contests. There was a
photo of them. This story did =not= run on either March 31 or April 1,
as I recall.
Newsgroups: rec.music.classical
From: pierce@lanai.cs.ucla.edu (Brad Pierce)
Subject: Schoenberg's Gurre-Lieder
Summary: CD recommendation sought
Organization: UCLA, Computer Science Department
Distribution: na
Date: Tue, 17 Nov 92 04:34:52 GMT

Please recommend a CD version of Arnold Schoenberg's "Gurre-Lieder".

Thank you in advance.

-- Brad Pierce --

Newsgroups: rec.music.classical
From: alexande@borland.com (Mark Alexander)
Subject: Schubert: beyond boring
Originator: alexande@genghis.borland.com
Organization: Borland International
Date: Mon, 23 Nov 1992 17:55:16 GMT


Last Saturday, we took the kids for a one-hour scenic drive to visit
my parents.  On the way, we listened to a recording of some of my
favorite piano music.  When we arrived, my mother asked my 9-year-old
son, "Did you have a nice trip?"

"Yes", he replied, "but we had to listen to some of Dad's music on
the way."

"Was it boring?" she asked.

"No", he intoned in that special voice, heavy with dread and revulsion,
that only a child can do properly, "it was SCHUBERT!"
Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Steve Reich's "Different Trains"
Organization: UCLA Mathematics Department
Date: Tue, 24 Nov 92 00:27:47 GMT

In article <102814@bu.edu> jaeger@buphy.bu.edu (Gregg Jaeger) writes:
>In article <1992Nov22.011743.9194@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
>>In article <1992Nov18.174035.15561@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
>
>> I think it is
>>probably Steve Reich's most personal and serious piece yet (the Desert
>>Music coming a close second).
>
>Most personal maybe, but I find "Tehillim" a very serious piece of
>work and his best.
>
Haven't heard it. Presumably a Hebrew word meaning what?

[stuff deleted]

>Music written around personal themes is very important and Reich is
>obviously not the first person to have written such music.
>
Sure. There must be hundreds of pieces like that! Britten's Peter
Grimes is a classic example !!

>I think
>that "Different Trains" benefitted very much from the closeness of
>the theme to Reich -- it certainly would have been a less moving piece
>without this personal aspect.
>
>Gregg

Well I suppose if Reich hadn't been Jewish he wouldn't have had a
reason to write the piece! However, even though I am not Jewish
(well 3% actually - does that count?) I can still listen to the piece
and be moved by it. When I listen to the piece I don't really think about
Reich's personal involvement. Instead I think about what was going on in
Europe at that time as documented by the text fragments in the piece.
I like the mood changes too.

David
--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
 David A. Pugh      | Hot Dog, Jumping Frog, Albuquerque            > PREFAB
 pugh@math.ucla.edu | Best agree you and me we're only nightingales > SPROUT
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|