HDTenEightyP/NetNews huggingface dataset:
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Re: Le Grand Macabre
Organization: University of Illinois at Urbana
Date: Fri, 28 Aug 1992 18:16:06 GMT

Steve Apter writes (apropos `Le Grand Macabre')
> 
> This is a great work.  Wait'll you hear the overture:  Monteverdi transcribed
> for automobile horns.
> 
> What book by David Cope?
> 

I was referring to

  Cope, David. New directions in music / 5th ed. c1989. xv, 439 p. DUBUQUE,  
IOWA

This is a pretty good overview of a subset of twentieth century music after  
about 1920.  The Scope is deliberately limited to `experimental',  
`avant-garde', computer music, and related styles.  Each chapter concludes with  
a `vectoral analysis' of a particularly important work relevant to that  
chapter.  Examples include works by Glass, Penderecki, Varese, Maxwell-Davies,  
Berio, Oliveros.  Also noteworthy are the lengthy and useful lists of suggested  
readings and recordings at the end of each chapter.

In case you didn't already know, Cope is himself a composer -- used to work  
here at the U. of Illinois -- and has performed in works by Cage and  
Maxwell-Davies, among others.  He promotes his own work in the book, but, as in  
Copland's books, he doesn't spend much time judging the worth of other  
composers and compositions, but rather tries only to show what's out there.

> If you don't know it, you might also enjoy Krenek's
> _Leap Over the Shadow_, available on cpo.

Why?

Ed erwin@lisboa.ks.uiuc.edu
Newsgroups: rec.music.classical
From: st1p5@rosie.uh.edu 
Subject: unusual REQUEST
News-Software: VAX/VMS VNEWS 1.41    
Organization: University of Houston
Date: Thu, 3 Sep 1992 19:25:00 GMT

I'm looking for a variety of pieces that sound very intense,
angry, or almost violent. It can me only a small part of a piece,
as long as it is significant.
Please e-mail the name & composer (recordings, if exceptional).
   Thank you
st1p5@jetson.uh.edu
From: lana@magenta.corp.sgi.com (Lana Mountford)
Newsgroups: rec.music.classical
Subject: Re: Top Five Russian Operas (was: Top Ten Operas)
Date: 31 Aug 92 23:21:11 GMT
Organization: Silicon Graphics, Inc.

In article <1992Aug28.002837.10204@cs.ucla.edu>, pierce@lanai.cs.ucla.edu (Brad Pierce) writes:
|> 
|> What are the top five Russian operas?
|> 

I cast my votes for the following:

1)  The Fair at Sorochinsk
2)  Prince Igor
3)  The Invisible City of Kitezh
4)  Love for Three Oranges
5)  Boris Godonov
-- 

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|    /)                      | Lana Mountford    
|   / /  __    ___    __     | Silicon Graphics  
|__(_/__(__)\__/  )__(__)\__ | Mountain View, CA 
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
From: seidman@eng.auburn.edu (Stephen Seidman)
Newsgroups: rec.music.classical
Subject: Re: William Bolcom's  _McTeague_
Date: 28 Aug 92 12:49:56 GMT
Reply-To: seidman@eng.auburn.edu
Organization: Auburn University Engineering

At the end of the novel, McTeague dies miserably in Death Valley, handcuffed to the
body of his pursuer.  The "drowning in wheat" ending comes from another Norris novel,
but I've forgotten whether it is "The Octopus" or "The Pit".

Steve Seidman
Computer Science and Engineering
Auburn University
Newsgroups: rec.music.classical
From: txa86@isuvax.iastate.edu
Subject: Reply to Pawel Penczek
Reply-To: txa86@isuvax.iastate.edu
Organization: Iowa State University, Ames, Iowa
Date: Fri, 28 Aug 1992 18:53:28 GMT

Mr/Ms Penczek:

     Sorry, I don't have Slatkin's recording of Shostakovich No.4, so
I don't know whether it is good or not. But I can give you another 
conductor's recording which is also good:

     Shostakovich Symphony No.4
     Vladimir Ashkenazy, Conductor
     Royal Philharmonic Orchestra
     LONDON records
Newsgroups: rec.music.classical
From: mikulska@astro.Princeton.EDU (Margaret Mikulska)
Subject: Re: Sightreading and Computers
Originator: news@nimaster
Organization: Princeton University
Date: Tue, 1 Sep 1992 03:53:16 GMT

In article <1992Aug18.205249.656@cs.ucla.edu> gds@cs.ucla.edu (Greg Skinner) writes:
>In article <1992Aug18.045238.10336@news.cs.brandeis.edu> jacob@max.cc.brandeis.edu ( ) writes:
>>One issue that hasn't been addressed in this discussion on sightreading is
>>what exactly all those people want to learn to sightread for?
>
>Good point.
>
>>Nobody has made that very clear as if sightreading was a goal in itself,
>>whereas I believe as a skill in itself sightreading is a pretty useless
>>skill to have. 

Uh?  Useless?

>>Sighreading is a means to an end and that those ends were
>>not made exteremely explicit by those who were interested in sighreading...
>
>I've heard several reasons given for acquiring sightreading as a
>skill:
>
>* It's required (e.g. for a class, a degree, a performing group, etc.)
>* It's something that "musicians" must be able to do
>* It gives you an edge in getting certain jobs
>* You don't have to play recordings of pieces to learn how they're
>  supposed to sound. :-)

I don't get it.  For me, asking "why sight-read" is like asking "why be
fluent in (some) language".  Would you rather read a novel fluently, or 
have to look up every word and grammatical construct?  It's very clear 
to me why sightreading is a useful skill.


-Margaret

Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (stephen smoliar)
Subject: Re: John Cage is Dead
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Mon, 31 Aug 1992 22:25:24 GMT

In article <1992Aug31.052903.12806@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au
(Diarmuid Pigott) writes:
>smoliar@argon.iss.nus.sg (stephen smoliar) writes:
>: to talk about dispositional mental states which are induced by a musical
>: experience.  I certainly do not believe that such states are, in any way,
>: universal across all listeners; 
>
>Surely across a micro-culture like "clasical music audiences" they can
>be assumed to be normally distributed - hence perhaps the consensus
>about the "canon" of musical masterpieces...


I am not sure how you intended to use the word "normally."  I doubt that mental
states can be represented in some metric space within which it would make sense
to attempt to characterize a Gaussian distribution.  If you mean it in the more
informal sense--the existence of some norm from which most samples depart in
only some insignificant manner (without trying to quantify any of this)--I
would still be skeptical.  Yes, we can say that, within one of your
"micro-cultures" there is some body of experiences one can assume to
be shared by most (if not all) members of the culture.  However, this
does not mean that all those members map a common experience to a common
mental state.

Let us take a REDUCTIO AD ABSURDUM example.  This group is clearly an example
of one of your "micro-cultures."  We can probably assume that most readers have
had many experiences of "O Fortuna."  However, on the basis of the articles we
have read, we KNOW that this work disposes different contributors to a rather
wide variety of mental states!

The reason this example is slightly absurd is that we know that differences in
mental states may be attributed to differences in OTHER (i.e. extra-"O
Fortuna") experiences.  I suppose if you could form a micro-culture in
which EVERYBODY shared ALL experiences, then you might come closer to
your "normal distribution" of mental states.  However, even in this rather
unlikely (if not impossible) situation, I might still have my doubts.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
From: 00hfstahlke@bsu-ucs.uucp
Newsgroups: rec.music.classical
Subject: Re: William Bolcom's  _McTeague_
Date: 27 Aug 92 16:04:05 GMT

In article <BtLKF9.H9D@news.cso.uiuc.edu>, erwin@helsinki.ks.uiuc.edu (Edgar Erwin) writes:
> 
> Anyone have any info on Willam Bolcom's opera _McTeague_ which will be  
> premiered in Chicago in October? (Lyric opera, I think)
> 
> Anyone know the story, or the source of the text?  Is this his first opera?

_McTeague_ is a fair-to-middlin' novel by Frank Norris, published by Rinehart
in 1950.  As a fair-to-middlin' novel, it's also the best thing Norris ever
wrote.  I suspect the movie _Witness_ borrowed the "drowning in corn" scene
from McTeague, who ends up drowning gloriously in wheat at the bottom of a
silo.  I'm curious how they'll stage that.  I hope the libretto and music are
better than the book.

Herb Stahlke
Ball State University
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Re: Last Night of the Proms / words
Date: 25 Aug 92 19:08:09 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

tom@fokus.gmd.de (Tom Pfeifer) wrote:
> In a few weeks I expect the annual event of the London music scene -
> The Last Night of the Proms. Since I know about this I'm glued to my
> TV every year. And since then I desperately search for the words sung
> to some of the standards played there. When I was in the UK last year
> I searched a whole univ library. What I found was a lot ABOUT the 
> authors/composers, and a lot ABOUT the Proms and their Last Night.
> But everywhere not more then the title of the pieces was quoted.
> So I ask here if there is any proud Briton or other fan of the
> Proms to send me the words of:

> William Blake / Parry : Jerusalem

This is part (either the beginning or the end, I forget which) of Blake's
long poem "Milton", which you can find in the standard collected edition of
Blake (Geoffrey Keynes's, from Oxford University Press), or in most poetry
anthologies that include anything by Blake.  Mostly sung by petty English
bigots (like the morons who go to the Last night, or the delegates to Tory
Party conferences) who Blake would have detested.


> A.C. Benson: Land of Hope and Glory
> Arne: Rule Brittania

Swap you.  You tell me the words to the Horst-Wessel-Lied and I'll find
these.  They have identical connotations: mindless, lethal, psychopathic
nationalism.  Unlike Blake, those evil little shits have been understood
perfectly by posterity.

-- 
--  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
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Schoeck - the schoecking truth...
In-reply-to: sekey@engrhub.ucsb.edu's message of 2 Sep 92 19:03:55 GMT
Organization: pubs
Distribution: usa
Date: 2 Sep 92 16:37:18 CDT

Andrew Sekey writes:

   [Schoeck's] Notturno: "disillusionment, melancholy,
   death and decay are elements in this disturbing work."

Yes, but don't shoot yourself until you hear the end, "Big Dipper".  
Then you may not need to follow through.

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: zvona@SAIL.Stanford.EDU (David Chapman)
Subject: Re: Apollinian & Dionysian Music
Organization: Computer Science Department, Stanford University.
Date: 3 Sep 92 17:36:33

Nietzsche, rightly surely, argued (in ``The Case of Wagner'') that the
music of his era was decadent, at a dead end.  He lost it just before
the Modern period began.  It's interesting to speculate about what,
had he been sane, he would have made of Satie, or had he been both
sane and alive a few years longer, Stravinsky.  Would he have
recognized a new beginning?  Would he have approved?
--
David Chapman
Teleos Research
576 Middlefield Road
Palo Alto, CA 94301
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Last Night of the Proms / words
Date: 26 Aug 92 20:02:59 GMT
Organization: Princeton University
Originator: news@nimaster

In article <1992Aug25.190809.22795@dcs.glasgow.ac.uk> jack@dcs.glasgow.ac.uk (Jack Campin) writes:

>> A.C. Benson: Land of Hope and Glory
>> Arne: Rule Brittania

>Swap you.  You tell me the words to the Horst-Wessel-Lied and I'll find
>these.  They have identical connotations: mindless, lethal, psychopathic
>nationalism.  Unlike Blake, those evil little shits have been understood
>perfectly by posterity.

OK, I give up.  Tell me, Jack.  In what way is 

"Britons never shall be slaves"

 equivalent to

"When Jew-blood squirts from blade of knife
 Then things go twice as well."

I must be missing something.  Have you been taking analogy lessons
from Brian?

Roger
>-- 
>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: bobs@hal.gnu.ai.mit.edu (Bob Sutton)
Newsgroups: rec.music.classical
Subject: Re: Cardew and "people's music"
Date: 31 Aug 92 01:30:38 GMT
Organization: /etc/organization

>And outside of Harbison, Schwanter and Adams (who *are* played
>somewhat) and some Bernstein "favorites" ("Overture to Candide,"
>"Symphonic Dances from West Side Story", "Chichester Psalms"...
>while his symphonies ["Kaddish," "The Age of Anxiety," etc.] are
>almost universally ignored), the works of Carter, Ruggles, and
>Hovanness are nt often heard, while both Herrmann and Glass are
>special-case re performances (context) and the latter's heyday is
>waning.

A new recording of Bernard Herrmann's "1st Symphony" was played in the
Los Angeles area about 2 months ago.  Granted it isn't played that much
although interest in his non-movie-related music has been greatly 
increased over the last couple years.  If you can find it, buy it.  He
was a very capable and clever composer.  
>
>>You seem to assume that orchestras are dictatorial because they are 
>>partially funded by large corporations.
>
>They will certainly be dictatorial if public funding gets smashed.
>
>> It appears more likely that
>>they are dictatorial because they have a music directors like Fritz 
>>Reiner or George Szell, both tyrrants of the baton, or because they
>>are operated by a CEO-like person who is a dictator, as in the case 
>>of the Los Angeles Philharmonic, the orchestra I go to see.
>
>Do tell: who is the CEO-like individual and what are they doing
>that is so dictatorial?  The last info I have, Musical America
>1990 directory, shows the following:
>
>Los Angeles Philharmonic Orchestra (200+, A, aa)
>(x) 105 
>Ernest Fleischmann, Exec. VP & Mng. Dir.
>NancyBell Coe, Gen. Mgr.
>Ara Guzelimian, Art. Adm.
>[...address etc. omitted here...]

According to my information, Ernest Fleischmann isn't very well liked by the 
orchestra because he is a dictator.  But he is a capable administrator.
-- 
Bob Sutton                        Love, most bitterly and fiercely oppresses
bobs@gnu.ai.mit.edu		  those who fight it than those who offer
al876@cleveland.freenet.edu       their servitude.    -- Ovid (Amores)
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Looking for music guide book
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 27 Aug 1992 16:55:21 GMT

In article <9208271603.AA27426@picasso.ocis.temple.edu> rhoenes@PICASSO.OCIS.TEMPLE.EDU (Richard Hoenes) writes:
>
>I have the Penguin Guide to Compact Discs which I find useful.
>However, I am now looking to get a guide that gives a description
>of what is being played, not how well it is played/recorded.
>That is, something that will tell me if a piece is firey with
>an astounding crescendo, or a soft romantic piece, or whatever.
>
>Richard

David Hurwitz's _Beethoven or Bust_ (pb, publisher forgotten) is
easily recommendable.  Hurwitz, a NY-based banker and _Fanfare_
contributor, is a pleasure to read.

Of course, _Fanfare_ itself may serve your needs as well, if not
better, than any single-authored work.  Published every two months,
it provides useful and informative reviews of new recordings, paying
equal attention to the music and its manner.  Far more to my taste
than _Gramaphone_ or the Penguine Guide, which are narrower in both
scope and opinion.
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: John Cage is Dead
Date: 27 Aug 92 19:43:15 GMT
Organization: Digital Systems Co., Atlanta GA

In <1992Aug26.170343.10602@fid.morgan.com> steve@fid.morgan.com (Steve Apter)
>Brian Yoder calls Cage evil.  You foam at the mouth.  Cornelius
>Cardew calls Cage soulless.  You laugh it off.  Something's gone
>wrong here. 

Perhaps it's that Cage might have agreed with Cardew on that
point.  (That is, of not having one apart from one shared by
everything else.  I could not tell you Cage's acceptance or
rejection of that word, "soul", however.))


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Winterreise
Organization: Morgan Stanley & Co., New York, NY
Date: Wed, 2 Sep 1992 20:46:04 GMT

In article <1992Sep2.172014.661@Princeton.EDU> mikulska@crux.Princeton.EDU (Margaret Mikulska) writes:
>In article <BtyD0G.Ht7@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>>In article <1992Sep1.211335.10349@Princeton.EDU> mikulska@astro.princeton.edu (Margaret Mikulska) writes:
:
>>And you forgot the one just before that, with Daniel Barenboim on DG.
>
>It must have been my subconsciousness, because I truly, truly cannot
>stand Barenboim.
>

Have you heard any of the recordings he's made since joining Chicago 
Symphony -- _Das Lied_, the Bruckner 9th?  What do you think of his
(live) performance of the Goldberg Variations on Erato?

>-Margaret


Newsgroups: rec.music.classical
From: inr@eccles.caltech.edu (I. Neill Reid)
Subject: re: clarinet arcana
News-Software: VAX/VMS VNEWS 1.41    
Organization: California Institute of Technology
Date: Wed, 26 Aug 1992 02:26:00 GMT

From: haynes@cats.ucsc.edu (Jim Haynes)

>This topic has made me think of a naive question.  If there are B-flat and
>A clarinets, I assume this means the lowest note the A clarinet can play
>is just one half-step below the lowest note of the B-flat clarinet.
>Why is it worth the trouble to make separate instruments that are so
>close together - or in other words couldn't an A clarinet play all the
>music that is written for the B-flat clarinet?  I would think it would
>only be worthwhile to make instruments that are more different, like the
>E-flat above B-flat clarinet and the E-flat alto clarinet.

 Well, the two instruments (at least my two) have rather different 
tone-colours : the A is darker and more mellow, the Bb has the brighter, 
more demanding-sit-up-and-listen-to-me tone - compare the Mozart concerto
against either of the Weber concerti, or the Mozart/Weber quintets. 

>I remember someone once had a C saxophone, and I was told the rationale
>for its existence was not the need for an instrument in between the
>alto and tenor saxes, but rather than it could play parts written for
>piano without transposing.

 and there's that too

>-- 
>haynes@cats.ucsc.edu

 Neill Reid  - inr@eccles.caltech.edu

Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: John Cage is Dead
Organization: University of Western Australia
Date: Thu, 27 Aug 1992 06:40:05 GMT

brian@quake.sylmar.ca.us (Brian K. Yoder) writes:
[stuff about the USSR deleted...]
: Their offical policies on the
: laws of physics are similar to mine too, but that doesn't make me wrong there 
: either. 

erh... Excuse me, I don't think you mean that. Remember Lysenko?
Newsgroups: rec.music.classical
Subject: Re: Lawrence Welk is dead
From: <MHUGHES@MIAMIU.BITNET>
Date: Friday, 28 Aug 1992 15:13:04 EDT
Organization: Miami University - Academic Computer Service

Does anyone know if the proposed Bush budget has a appropriation for a
John Cage museum?
 
:)  :)  :)  :)  :)
 
Mike
From: jeffw@or.credence.com (Jeff Winslow)
Newsgroups: rec.music.classical
Subject: A Brahms Contrarion - a few corrections
Date: 29 Aug 92 00:57:32 GMT
Organization: Credence Systems Corp. Beaverton, OR


I wrote:

>  I think the first piece I worked on was the Fantasia Op. 78 no. 2.  As
>  anyone who has ever tried to come to grips with it can attest, that put
>  to rest right away any idea that Brahms might be dull.

As anyone who has ever tried to come grips with it can attest, such a
beast does not exist. I meant the Rhapsody Op. 79 no. 2, in G minor.

>  I like "Es hing der Rief" in Op. 106 so much...

Groovy, man. I meant "Es hing der Reif".

Also, that Op. 76 Capriccio somehow capriciously changed to no. 7 from
no. 8.

Whatsamatter with you guys anyway, even *talking* about Brahms puts you
to sleep or something? :-)

						Jeff Winslow
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: South Pacific
In-reply-to: conrad@brahms.udel.edu's message of Wed, 26 Aug 1992 17:51:15 GMT
Organization: pubs
	<BtLKMI.Dv1@news.udel.edu> <2A9BAAD5.19287@orion.oac.uci.edu>
	<BtLqxF.EI5@news.udel.edu>
Date: 26 Aug 92 14:40:52 CDT


As long as the subject is musicals, I have a question about Paint Your
Wagon; actually several (maybe I should change the subject line).
Sometime in my youth I was imprinted with a liking for the song "They
Call the Wind Maria", which is now hard-wired; I can't evaluate the song
impartially.  (The version to hear is sung by Robert Merrill, if anyone
is interested.)  So anyway, I thought I should see the show for which
the song was written and rented a tape of the ~1970 movie "Paint Your
Wagon".  Well, this thing is one of the all-time losers; I couldn't even
finish it.  And "Maria" was stuck into it in the most arbitrary way,
having as much to do with the plot as the songs in "A Hard Day's Night".
A recent Times article describes a new Eastern production of "Wagon" and
includes a fairly extensive description of the show.  But I couldn't
match this description with (what I saw of) the movie.  Is the movie
supposed to be the same show, or did they rewrite it?  Was "Maria" more
organically integrated in the original?  Is it a good show?

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Top Ten Operas (was Re: La Traviata)
Organization: Camex Inc., Boston MA
Date: Sat, 29 Aug 1992 23:19:46 EDT

In article <92240.210903KSSHC@CUNYVM.BITNET> Ken Sherrill
<KSSHC@CUNYVM.BITNET> writes:

>I, too, am against these lists. But, since I can't resist the urge, I'll blurt
>my favorite 10 out.

[list of 13 operas and parts of 5 others, Don Giovanni at the top]

In article <BtnpyK.JL8@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad)
writes:

>Me too.  And I can't resist them, just the same.  So here are mine.

[top five and five second-place winners]

I don't have any philosopical grievances with a list of my 10 favorite
operas.  It's not so easy to do, though.  I have a #1 favorite, then a
small group of nearly #1 favorites, and then a few too many also-rans to
fit in a list of 10.

#1         Falstaff

Almost #1  Don Giovanni
Almost #1  Marriage of Figaro
Almost #1  Ballo in Maschera
Almost #1  La Boheme
Almost #1  Turandot
Almost #1  Pelleas & Melisande

#8         Andrea Chenier
#9         Rosenkavalier

#10        Jenufa, Cunning Little Vixen, Aida, Traviata, Fanciulla,
           Otello, Tosca, Fiery Angel

My final choice for #10 would depend on whether this is a desert-island
list or not.  I wouldn't want to be on a desert island without any Janacek.
And I suppose Jake Wallace's song might get to be a little too much to take
on a real desert island.  I'd probably take Vixen for its being the most
fun of the bunch.  If I could use Ken Sherrill's single-act approach, it
would be Act V of Fiery Angel, Act II of Tosca, Act III of Jenufa.  

Chris Ischay
chrisi@camex.com