HDTenEightyP/NetNews huggingface dataset:
From: smoliar@argon.iss.nus.sg (Stephen Smoliar)
Subject: Re: Re: Piano transcriptions
Reply-To: smoliar@iss.nus.sg (Stephen Smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Sat, 7 Nov 1992 23:02:35 GMT

In article <hal.20.721076133@radio.wkar.msu.edu> hal@radio.wkar.msu.edu (Hal
Prentice) writes:
>In article <17191@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley)
>writes:
>>From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
>>Subject: Re:Piano transcriptions
>>Date: Fri, 6 Nov 1992 06:15:27 GMT
>>I have quite a lot of piano duet arrangements, including Mahler's 9th
>>symphony (along with his 1st, 2nd, 3rd, 4th and 5th)... Does anyone know if
>>the other symphonies have been released to the public domain (in piano duet
>>form, that is)?
>>
>Whoops!  I'm sorry, I misread your request.  Mahler transcriptions I don't 
>know...Schoenberg might have done some since he and Mahler were buds.
>
Somehow, I find it hard to characterize the relationship between Mahler and
Schoenberg was one of "buds."  Schoenberg had both admiration and respect for
Mahler, but I do not know to what extent Mahler overtly encouraged Schoenberg.
As far as transcriptions of the symphonies are concerned, only two such were
performed by the Society for Private Musical Performances;  and neither was
arranged by Schoenberg.  The very first Society concert concluded with the
seventh, transcribed by Alfredo Casella.  The following year, the sixth was
performed in a transcription by Alexander Zemlinsky.  I have no idea if either
of these was published, but I would certainly like to see them.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Best recording of "1812 Overture"?
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 10 Nov 1992 19:59:43 GMT

In article <1992Nov10.025227.2940@news.Hawaii.Edu> tholen@galileo.ifa.hawaii.edu (Dave Tholen) writes:
>Terence T. Lung writes:
>
>>>>    I am looking for the best CD (in terms of recording and performance)
>>>> of the "1812 Overture" by Tchaikovsky.  Can anyone recommend one?
>
>>> Best performance is surely the 1940 Concertgebouw/Mengelberg on
>>> Teldec. He's the only conductor who actually makes it sound like
>>> *music*. As for recording, who knows? (And who cares?)
>
>> best recording?  I'll put my bet on that Telarc recording.
>> Was it the Cleveland Orchestra?
>
>Nope, Cincinnati/Kunzel.  It's the one with digital cannons.  On the LP,
>the grooves made right-angle turns.  Untrackable by almost every cartridge
>out there, though a few could handle it.  No problem for lasers in CD
>players; big problems for woofers if played too loud.  While recording
>the cannons, some windows were blown out a fair distance away.


If it's thrills you're after, and not mere shellshock, try Hermann
Scherchen's recording, issued as part of an ultra-cheapo MCA two disk 
set.  If I remember correctly, the set includes a scorching Romeo & 
Juliet, and a Piano Concerto 1 featuring ???



Newsgroups: rec.music.classical
From: langs@puhep1.princeton.edu (David Langs)
Subject: Re: Best recording of "1812 Overture"?
Organization: Physics Dept., Princeton University
Date: Tue, 10 Nov 1992 16:46:35 GMT

In article <Nov10.052626.31680@yuma.ACNS.ColoState.EDU> hurben@lamar.ColoState.EDU (Mike Hurben) writes:
>I don't own this disc but I have heard it before and it is awesome...
>
>Lorin Maazel, Vienna Phil and Chorus, on CBS, I believe...
>
>The recording is great because...  It features the chorus in the intro, and
>the canon fire at the end sounds REAL, as opposed to the infamous TELARC, with
>it's odd popping noises.  Not to mention that it is simply beautifully played
>and conducted.  I would own it myself, but I have never seen it for sale
>anywhere. :(
>

Arghhhh!  This has to be one of the worst recordings of the 1812 I've
heard.  To me, the playing seems to have a lot of energy but too little
emotion and the cannons to me just don't sound real.  Unfortunately,
this is the only recording of the 1812 I own on CD.  It came as coupling
to Maazel's recording of the Pathetique Symphony with Cleveland, which
is not bad, although doesn't compare to Mravinsky's.

The reason I've not bought another 1812 on CD is because I have not yet
heard one I am completely satisfied with.  (Admittedly, there are a
*lot* of recordings I have not heard.)  I have an old cassette I bought
before I bought a CD player with Kenneth Alwyn conducting the London
Symphony Orchestra.  It is my favorite, and I keep hoping it will be
released on CD.  The LSO has always played this piece well, and here
they play with genuine conviction as well as great energy.  The tape
(which I believe was on the London label) also came with the most
stirring performance of Marche Slav I have ever heard (a piece which is
so often badly done) and a very good Capriccio Italien.  If anyone knows
if this has been or will be released on CD please let me know.  I love
all these pieces and am looking for good recordings of them.

Has anyone ever heard this cassette and if so, can you recommend similar
performances?

Dave Langs
Dept. of Physics
Princeton Univ.
langs@puhep1.princeton.edu


Newsgroups: eecis.cis-gsa,udel.general,udel.cis-ugrad,rec.music.classical,rec.music.makers,udel.bull,phl.music,phl.announce
From: peters@castle.asel.udel.edu (Shirley Peters)
Subject: Mea culpa
Organization: AI duPont Institute
Distribution: phl
Date: Thu, 12 Nov 1992 04:59:19 GMT



Ok Ok, so I forgot to remind you about the last Newark Symphony
Orchestra concert.  Please forgive me.  I'll make up for it, honest...

However, this is a good concert to start reminding you again.  For one
thing, it's cheap - $5.00 for general admission, and $3.00 for students
and senior citizens.  Try to see a movie for that!  For another, Ross
Beauchamp (pronounced "Bee' chum" - don't ask me why!) is a really good
cello player!

Hope to see some of you there....
Shirley



	___NSO Chamber Concert #2___
	ARRIAGA		Quartet No. 3 in Eb Major for Strings
	CHOPIN		Sonata in G Minor for Cello & Piano, Op. 65
				Ross Beauchamp - Cello
	SCHUBERT	Octet in F Major for Winds & Strings, D. 803

		  Saturday, November 14,  8:00 pm
		  Newark United Methodist Church
		  69 E. Main Street,  Newark
-- 
Shirley Peters                                       peters@dewey.udel.edu
U. of Delaware/A.I. duPont Institute                peters%udel.edu@udelvm
+------------------------------------------------------------------------+
                        I'd rather be sleeping!
From: ssc@nwu.edu (Steven Chung)
Newsgroups: rec.music.classical
Subject: Re: Gramophone 1992 Awards
Date: 6 Nov 92 18:47:28 GMT
Article-I.D.: news.1992Nov6.184728.11506
Organization: Northwestern University, Evanston Illinois.
Originator: schung@casbah.acns.nwu.edu

In article <1992Nov5.225814.4196@nuscc.nus.sg> smoliar@iss.nus.sg (stephen smoliar) writes:
# In article <hal.14.720975131@radio.wkar.msu.edu> hal@radio.wkar.msu.edu (Hal
# Prentice) writes:
# >
# >Best Historic Non Vocal Recording -
# >Elgar Edition Vol 1 - Elgar conducting (EMI mono CDS7 54560-2)
# >
# Can anyone post what is on this disc?  I have the recording of Elgar conducting
# the violin and cello concertos, but that is part of their Great Recordings of
# the Century series.  This is the first I have heard of the Elgar Edition.

According to the ad in November's Gramophone, volume 1 has the two
symphonies, Falstaff, The Dream of Gerontius, The Music Makers (excerpts)
and includes 'the whole of the Second Symphony rehearsal take and both
versions of the Rondo.'  Volume 2, a new release, has the Violin concerto
with Menuhin 'in a new transfer from metal masters recently rediscovered in
RCA's vaults in New York,' the Enigma Vars, The Wand of Youth, Nursery, The
Crown of India, and Severn suites, Three Bavarian Dances, and Three
Characteristic Pieces.  Also on the set is a repaired version of a Serenade
mauresque recording which overran the side length and got messed up at the
end.  Both volumes are three long discs.  Catalogue numbers CDS7 54560-2
and CDS7 54564-2 respectively.

God knows when the second one will be here in America, though.
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Messiaen recommendations?
Organization: Morgan Stanley & Co., New York, NY
Date: Fri, 6 Nov 1992 18:25:25 GMT

In article <Bx8wo1.DCF@dcs.glasgow.ac.uk> jack@dcs.glasgow.ac.uk (Jack Campin) writes:
>ujwb@uxa.ecn.bgu.edu (Jeff Beer) wrote:
>>> I haven't heard the Quartet for the End of Time but I think it was
>>> written while he was in a concentration camp.
>> It was, and so it is not the type of instrument selection he would
>> normally choose.
>
>Not a concentration camp but an ordinary POW camp.
>
>Wasn't there some other problem with the instruments, like the cello only
>having three strings?
>
>My first recommendation for a Messiaen work wouldn't be either of these,
>but "Et Exspecto Resurrectionem Mortuorum", a 30-minute sorta-symphony for
>winds and percussion.  I don't undertand why this piece isn't programmed
>more often: it's written for smaller forces than Turangalila and is a more
>normal length.  And it blows anything else written for wind band since
>Mozart into oblivion.




It certainly blew a large part of the audience out the doors of Avery
Fischer Hall during a performance I attended several years ago.  I suppose
that most of them found it difficult to continue the restful snooze
they were enjoying during the first part of the program.


So why did most of them return for the 80th birthday concert?  Well, *this*
time they could stomp out of a performance of Turangalila, with the composer
present. 


 
>
>-- 
>--  Jack Campin    room G092, Computing Science Department, Glasgow University,
>17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
>INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
>BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Re: Messiaen recommendations?
Date: 5 Nov 92 13:40:48 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

ujwb@uxa.ecn.bgu.edu (Jeff Beer) wrote:
>> I haven't heard the Quartet for the End of Time but I think it was
>> written while he was in a concentration camp.
> It was, and so it is not the type of instrument selection he would
> normally choose.

Not a concentration camp but an ordinary POW camp.

Wasn't there some other problem with the instruments, like the cello only
having three strings?

My first recommendation for a Messiaen work wouldn't be either of these,
but "Et Exspecto Resurrectionem Mortuorum", a 30-minute sorta-symphony for
winds and percussion.  I don't undertand why this piece isn't programmed
more often: it's written for smaller forces than Turangalila and is a more
normal length.  And it blows anything else written for wind band since
Mozart into oblivion.

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.music.classical
Subject: Re: Requesting info:
From: phoogenboom@eagle.wesleyan.edu
Date: 13 Nov 92 05:23:41 EST
Organization: Wesleyan University

In article <5440@daily-planet.concordia.ca>, r_mcdon@pavo.concordia.ca (Bob McDonald) writes:
> 
> I am looking for some information and if anyone could respond to my
> request via E-Mail or a post it would be greatly appreciated.
> 
> I am trying to get a complete list of all the works of the following
> artists with relevant Opus, K, etc. numbers to identify the order
> of publication. The composers are;

The catalogue numbers vary regarding the ordering system used.  BWV numbers (JS
Bach), for example, are arranged by medium (that is, what kind of piece it is:
all the cantatas come first, and so on).  They are essentially unrelated to the
order of composition.

> Antonio Vivaldi
> Johann Sebastian Bach
> George Frideric Haldel <-- Handel (I'm sure you know, but just in case)
> Joseph Haydn
> Wolfgang Amadeus Mozart
> Ludwig van Beethoven
> Franz Schubert
> Felix Mendelssohn
> Frederic Chopin
> Robert Schumann
> Giuseppe Verdi
> Peter Tchaikovsky
> Richard Strauss
> Holst

There are some VERY prolific composers here.  Some of the work lists involved
go to several pages.  The standard reference is the New Grove Dictionary of
Music and Musicians.  Any music library should have it in its reference
section.  Look up each composer and you will find a work list at the end of
each article.

> If the above information could be provided I would greatly appreciate it.
> As well maybe there already exists a book or some documentation regarding
> the above, if this is so please refer me to the book: Author, ISBN etc.

Editor: Stanly Sadie.  ISBN, I don't know.  It is somewhere in the neighborhood
of 20 volumes.  In otherwords, go to a library.  If it is a music library, ask
anyone where "Grove's" is.

> As well I would like to know if there exists a complete set of CD's on all of
> any of the above-mentioned composers works and if so who is the 
> performer and who produces the CD.

Afraid I can't help you here, beyond the Phillips release of the Complete
Mozart works.  I think it is a number around the 140's (number of CD's in the
collection, that is).

May I ask what you are planning to do with all this information?

Peter Hoogenboom
phoogenb@ucs.indiana.edu
Newsgroups: rec.music.classical
From: bseymour@encore.com (Burch Seymour)
Subject: MESSIAH, technical question....
Organization: Encore Computer Corporation
Date: Tue, 10 Nov 1992 17:44:56 GMT
Summary: is this correct in Yoke?
Keywords: His Yoke


We are working up a full Messiah performance, and not being a person
who has done this every year since I was born, a lot of it is new
to me. I don't claim a lot of knowledge on this, but I know what I
can comfortably sing, and there's a phrase in His Yoke is Easy
(but his notes are hard) which seems wrong to me. I wonder if there
are any Handel scholars out there who can help?

On page 101 (letter B, measure 23, G Schirmer ed 38) the basses sing
li-i-ight, rest, his yo--o-olk. "Light" ends up on C below middle C
"his" on e-flat an octave+ above that, then back down to f on "yoke".
It's a hard leap to make for us poor basses (well me anyway). Add to 
that, we end up singing above the alto line on "his". It seems to me
that "his" would be a *lot* easier to sing on the e-flat an octave
lower than written. Both are written in the accompanyment, for whatever
that may be worth.

Leaps like that are Beethoven's thing, not Handel :-)

Any thoughts on that? Or am I just being a wimp :-)

-Burch Seymour- bseymour@encore.com
=================================================================
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Re: STRAVINSKY
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 7 Nov 92 07:16:35 GMT

In article <F7PTTB3w165w@sys6626.bison.mb.ca> al@sys6626.bison.mb.ca (haus der luge) writes:
> 
>I recall somebody here mentioning that they have a copy of the 'RITE OF 
>SPRING' for ONE piano.
> 
>I was extremely skeptical about how the TWO piano version (scored by 
>Stravinsky himself) would sound ... but it's fantastic and renewed my 
>faith in the sheer power that can come from just two instruments.
> 
>Now I'm extremely skeptical in regards to a ONE piano version.  Who 
>scored this?  Is it still mostly faithful to the orchestral version???
> 
>I would rank this as one of the best works of all time.  I hope that 
>nobody has done it any injustice (some of you may remember my terrible 
>experience with alternate versions of THE FIREBIRD).
> 
>HausDerLuge


There is a pianola version, based on a roll prepared by Stravinsky,
which appears as a coupling for the Rite of Spring performance 
conducted by B. Zander with a semi-professional group from Boston
on IMP.  The pianola `performance' is very effective, particularly
in the driving rhythmic sections which are taken at very fast tempos.
Zander more or less duplicates these tempos with his orchestra but
does not succeed in duplicating the, literally, knife-edged precision
and bite of the pianola - to my mind, Boulez' Cleveland performance
does a better job of capturing the essence of this precision and bite
with an orchestra, doing so at much slower tempos.

Perhaps, in any case, it is this pianola version that you are thinking
of.  Though this is one instrument, the scoring is not, I believe, something
which would be physically possible for a single pianist to perform.

Josh

Newsgroups: rec.music.classical
From: kldawkin@undergrad.math.waterloo.edu (Kiwi)
Subject: VOXBOX Romantic Piano Concertos
Organization: University of Waterloo
Date: Thu, 12 Nov 1992 03:31:16 GMT

Eeeeek! Can somebody please please please post the list of the contents
of all the volumes of the VOXBOX Romantic Piano Concerto set? I
just got Volume 3 and am keen to order some of the others!

Thanks!

Kyle.
   ,------------------------------.,---------------------------------.   \._,
  /   7   ,7  o             o     / kldawkins@cayley.waterloo.edu    /   < /
 /   /--<'   /   /  ,  /   /     / kldawkins@descartes.waterloo.edu /     ' 
/  -'    `--'`--'`-'`-'`--'`-   / kldawkins@napier.waterloo.edu    /    /7 
`------------------------------'`---------------------------------'    //  NZ!
"Don't call me God. Call me Pope so I have something to aspire to."    '
Newsgroups: rec.music.classical
From: bryan@well.sf.ca.us (Bryan Higgins)
Subject: Name this tune ...
Organization: Whole Earth 'Lectronic Link
Date: Wed, 11 Nov 1992 08:14:50 GMT

A friend asks:

  What is the very shimmery opera used as the score for I Heard the Mermaids
  Singing, and now on TV in the British Airways and Princess Borghese cosmetic
  commercials? am dying to know -- would also like to know the best CD version
  of this opera.

I neither know what "I Heard the Mermaids Singing" is nor have I seen the TV
commercial.  Any takers?
From: spahr@hpwala.wal.hp.com (Lani Spahr)
Date: Wed, 11 Nov 1992 14:44:37 GMT
Subject: Re: Re: HAYDN (& unrelated, Bax)
Organization: Hewlett-Packard Company
Newsgroups: rec.music.classical

Re: Bax

If you like Vaughan Williams, you might like Bax.  I say "might" because you
have to pay closer attention to Bax just because he doesn't seem to be as
tightly constructed as VW (and if you think VW is not tightly constructed at
all, you get my point).  For starters, try the symphonic poem "Tintagel" and
"The tale the Pine Trees knew".  An aquaintance of mine said "Tintagel" sounded
like movie music, and I guess at times his grand sweeping use of the orchestra 
does sound that way, but he was much in love with the sea and Ireland and that
"sweeping sea sound" gets in his music quite a lot.  I bought the Thomson set of
the symphonies and I must admit that I haven't gotten the whole way through 
them yet -  just 1 and 2 (I got them during my one year binge on 19th & 20th
century English music [Elgar, Parry, Stanford, Bax] and I'm so in love with the
first 3 that I haven't gotten to spend the time with Bax yet).  Anyway they are
a bit more severe than the 2 tone poems mentioned above and they tend to wander a bit, so you have to stay awake.  But listening to bits and pieces of the other
5 symphonies, I'm sure it will be time well spent if you tend toward English
impressionist music.

Lani Spahr
spahr@hpand5.and.hp.com
From: hellerS@moravian.edu (sjh)
Newsgroups: rec.music.classical
Subject: Re: obscene lyrics advisory--new Baltimore Consort album!
Date: 10 Nov 92 15:54:22 GMT
Distribution: na

In <1992Nov10.002150.12262@magnus.acs.ohio-state.edu> jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:

>I've heard that the new release by the Baltimore Consort, "The Art
>of the Bawdy Song:  Music from the Gutters of 17th Century England"
>due out next Monday, will contain a label warning of lyrics which some
>may find objectionable.  I find this quite amusing, to say the least--
>how many teenagers are likely to go rushing out to buy this album?
>Does anyone know of any other "classical" album which took such an
>action (and no, P.D.Q. Bach's "pathetic lyrics" advisory regarding 
>"Classical Rap" (from the "Oedipus Tex" album) doesn't count!)?

>b.t.w., are there any other fans of the Baltimore Consort out there?
>I'd like to get some discussion going once this new album is released.

Funny you should ask -- as I was reading this, Larry Lipkis, long-time
member (tenor & bass viols) of the Baltimore Consort, walked into my office
to tell me the new CD would be here any day now. Yes, I'm a fan of this
group, even if I'm a bit biased, as Larry Lipkis teaches at Moravian and
his office is next to mine, but all bias aside, this is one fun and fine
group of musicians, and if you like early music, done with wit and whimsy
and expertly recorded on Dorian CDs, I recommend you go buy their CDs, even
if they may contain some objectionable lyrics (hey, they didn't write
them!). When I get this new CD I'll write a little review maybe...

	Steve Heller
	hellerS@moravian.edu OR
	music@moravian.edu
Newsgroups: rec.music.classical
From: yangyj@SPUNKY.CS.NYU.EDU (Yao-Jung Yang)
Subject: Brahms.
Organization: New York University
Date: Mon, 9 Nov 1992 20:10:06 GMT
From: ca572@cleveland.Freenet.Edu (Mark L. Stackpole)
Newsgroups: rec.music.classical
Subject: Re: question
Date: 12 Nov 92 22:57:07 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


	The "South Boho Suite" is by V. Novak - a student of Dvorak
- he might have been his son/grandson-in-law at that.
	It's recorded on Supraphon, date 1984.

	Gimme another one!!

Mark_Stackpole@oclc.org