HDTenEightyP/NetNews huggingface dataset:
From: lampson@tellabs.com (Dave Lampson)
Newsgroups: rec.music.classical
Subject: Re: Jascha Horenstein - help requested
Date: 14 Apr 92 22:57:11 GMT
Organization: Tellabs, Inc., IL

In article <1992Apr12.122145.1@camins.camosun.bc.ca> dbarker@camins.camosun.bc.ca writes:
>I am currently preparing a discography of the great, and greatly underrated,
>conductor Jascha Horenstein. I am trying to track down every issue of
>every recording he made, so if anyone has any of his recordings I should
>be very grateful for the following info:
>	Composer, Title, Artists, Label, Catalogue Number
>together with any dates (recording, publication) which may appear.
>
>If you are unfamiliar with this conductor's work then I must just tell
>you that his Mahler and Bruckner were unsurpassed.
>
>Thanks in advance to all those who provide info. By e-mail please to:
>	dbarker@camins.camosun.bc.ca


I'm posting this since email to the address given is returned because of a protocol error at Camosun College's end (something about an invalid address 
and a remote protocol error).

Anyway, here's a couple for your discography:

--------------------------------------------------------------------------------
RACHMANINOV            Concerto #1                            Op.  1         ADD
                       Concerto #4                            Op. 40
                       Rhapsody on a Theme of Paganini        Op. 43
Royal Philharmonic Orchestra                        HORENSTEIN, Jasha
Piano                        WILD, Earl
Chesky                                      1965      CD41               1:08:51
--------------------------------------------------------------------------------
MAHLER                 Symphony #3                                           ADD
London Symphony Orchestra                           HORENSTEIN, Jasha
Ambrosian Singers
Wandsworth School Boys' Choir
Contralto                    PROCTER, Norma
Flugelhorn                   LANG, William
Trombone                     WICK, Dennis
Unicorn-Kanchana            Souvenir        1970      UKCD2006/7     (2) 1:38:15
--------------------------------------------------------------------------------

There's also another single CD from Chesky with the other two Rachmaninov 
concertos also recorded in 1965.  These same performances have been released 
by Chandos as well in a 2-CD set.


-- 

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: ray@gawain.cif.rochester.edu (Raymond Sunessen Tuttle)
Newsgroups: rec.music.classical
Subject: "The Bach Album" w/Battle and Perlman on DG.
Date: 15 Apr 92 00:08:28 GMT
Organization: University of Rochester (Rochester, NY)

In the early years of the recording industry, it was a common practice for
record companies to combine the talents of one of their star vocalists and one
of their star violinists in hopes of producing a record which would sell twice
as well as one featuring only one of the artists. Mischa Elman and Enrico
Caruso recorded together, as did Fritz Kreisler and John McCormack. Usually,
both the repertoire and the results were quaint but forgettable.

Deutsche Grammophon is the latest company to tread in similar waters. Their
musical offering is "The Bach Album" (429 737) and the participants are
soprano Kathleen Battle, violinist Itzhak Perlman and the Orchestra of St.
Luke's under the direction of John Nelson. I was amused to see that Nelson
also was the "Berater" for this project, until I read the translation and
found out that this is the German word for "consultant." Oh well. Anthony
Newman provides the discreet but omnipresent keyboard support.

The disc contains 13 arias written by J.S. Bach, or quietly arranged by other
hands, for soprano and instrumental ensemble with a violin obbligato. All but
two of the arias are movements from cantatas; the others come from the Mass in
B minor. The program contains an hour of music which balances the animated
with the reflective, and the joyous with the contrite.

If we could berate the participants for making the whole effect sound a little
too sweet, then let us remember that the major Christian holidays have become
excuses for gluttony, and wink an indulgent eye. "Self-effacing" is about the
last phrase I would use to describe Battle's and Perlman's performances, but
I'd be lying (and that would be a sin) if I said that the results were 
unattractive. This is ear candy. The recorded sound is plush, in keeping with
the performances.

While "The Bach Album" will make purists gasp in rage, it will raise a smile
a minute for just about everyone else. I'm still smiling at the cover 
photograph, which shows Miss Battle dressed in what appears to be a giant
yellow tulip. Well, it is almost Easter, after all.


--
Ray and his two     "Dunkel ist das Leben, ist der Tod,"
little white mice,   but it's nothing to get depressed about.
named Ursula and
Gudrun. *******************************************************
Newsgroups: rec.music.classical
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: HOLOCAUST MYTHS
Followup-To: rec.music.classical
In-reply-to: revans@euclid.ucsd.edu's message of 5 Apr 92 05:00:39 GMT
Organization: pubs
Date: 6 Apr 92 11:06:09 CDT

Ron Evans writes:

   The Germans introduced mustard gas in warfare against
   the British at Ypres, Belgium, in July 1917.  As for
   Nazi gassings, the documentation is overwhelming,
   as the net has seen.

While I agree with your point, I hope r.m.c. won't be invaded by a Holocaust
debate.  This topic has just about ruined soc.history.

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7
Newsgroups: rec.music.classical
From: schung@casbah.acns.nwu.edu (real address below)
Subject: wozzeck
Reply-To: ssc@nwu.edu
Organization: Northwestern University, Evanston, Illinois
Date: Sat, 11 Apr 1992 22:05:26 GMT


Any recommendations on a recording of Berg's Wozzeck?

Any good video versions?

Thanks.

-- 
Steven Chung | ssc@nwu.edu | 'Genius is getting enough sleep.': Thomas Mann
From: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
Newsgroups: rec.music.classical
Subject: Re: Info requested on Theremin
Date: 8 Apr 92 15:08:08 GMT
Reply-To: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
Organization: Computer Science Dept, University of Tennesee, Knoxville
NNTP-Posting-Host: cupid.cs.utk.edu

In article <1992Apr7.034048.7361@en.ecn.purdue.edu>, davisonj@en.ecn.purdue.edu (John M Davison) writes:
|> >The Theremin is probably the
|> >first electronic instrument.
|> 
|>         Not true.  That distinction does to Thaddeus Cahill's Teleharmonium
|> [sp?].  Consult a recent _Computer_Music_Journal_ for someone's dissertation
|> regarding the device.
|> 
|>         By the way, Leon Teremin is still alive, and was recently interviewed
|> by _Keyboard_ magazine.  He has one hell of a story to tell.

And some company is apparently making Theremins again. Midi optional.
(Did I see this in the April issue of Electronic Musician? I'm
beginning to wonder :-)

|> davisonj@ecn.purdue.edu

Victor.
Newsgroups: rec.music.classical
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: Transcriptions of famous pieces for guitar
In-reply-to: ajm@iconix.oz.au's message of Mon, 13 Apr 1992 04:01:19 GMT
Organization: pubs
Date: 13 Apr 92 13:13:02 CDT

Andrew Mack writes:

   I once heard the finale from Stravinsky's "Firebird" suite on guitar ...

Well, as long as we're discussing unlikely transcriptions--I heard a classical
guitarist (on the radio, in a recording of a concert) play Stars and Stripes
Forever.  It worked, amazingly, both as Sousa *and* as classical guitar.  It was
musical and humorous, a perfect transfer of one medium to another.  The big
trombone-section entrance near the end is rendered as whole-chord strumming, and
it works; the audience applauded at that point.  And naturally he got in the
piccolo solo, accompanied by the main theme carried by his thumb on the lower
strings.  Does anyone know if this recording is commercially available, and who
did it?

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7
Newsgroups: rec.music.classical
From: newjack@caen.engin.umich.edu (Kyong Soo Lee)
Subject: Re: Transcriptions of famous pieces for guitar
Date: Mon, 13 Apr 92 04:38:29 EDT

In article <1992Apr13.040119.6452@iconix.oz.au> ajm@iconix.oz.au (Andrew Mack) writes:
>Hi folks,
>
>Anyone have any information on famous pieces of music arranged
>for the classical guitar?
>
>I once heard the finale from Stravinsky's "Firebird" suite on guitar,
>but don't know who played it. Can anyone help?


Well, Kazuhito Yamashita plays it in one of his recordings along with Dvorak's
9th.  About transcriptions, I'm sure you can get what you want from this mail
order company in California called 'Guitar Solo.'
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: Mahler on disc
Organization: Camosun College
Date: Fri, 17 Apr 1992 19:02:21 GMT

In article <1992Apr16.193708.10314@unx.sas.com>, sasdrf@daedalus.unx.sas.com (Dave Frederick) writes:
> |> >For those who insist on a digital recording (shame on you!)
> |>                                               ^^^^^^^^^^^^^

I have to confess this was partly tongue-in-cheek. My radio show was
originally entitled "It Doesn't Have to be Digital", in an attempt to
persuade people that DDD wasn't essential to enjoiying music. However
I have heard many analogue recording which are far better than many
digital recordings I've heard - witness some of those truly horrible
early '80s karajan digitals, e.g. Holst's Planets, Nielsen 4th., his
last (and worst) Beethoven cycle.
 
> While I have a few analog vinyl recordings which I occassionaly listen
> to (Walter's Ninth will never be outdone, and I also have some by
> Horenstein, Tennstedt, and Kubelik), I still look to complete my
> collection of digital recordings. Yes, the interpretations on these
> older recordings will be difficult, if not impossible, to be bettered.
> But, due to their sheer scale, Mahler symphonies have never recorded
> well. The contrast between such massive forces and small chamber-like
> ensembles just never came out well with analog recording techniques.
> Digital provides a wider range, but a plethora of fair to good (but
> rarely great) performances. Yes, the performance is the important thing,
> but it must be presented in a reasonable manner. I own Horenstein's
> sixth on vinyl, and while I prefer his interpretation to the Chailly
> I own on CD, the brass are begging for mercy by the end, and the hammer
> blows are indistinct, while the Chailly is a decent but not great
> reading with much more presence, and the third hammer blow in particular
> is terrifying. Of course, until someone conducts these works as well
> as Walter on a digital recording, there is a need for both.

Didn't thnk Walter ever even performed the 6th - he certainly never
recorded it. :-) Actually I don't think the third hammer blow in the
finale is _supposed_ to be terrifying: each blow is weaker than the
previous one, a notion that Richard Strauss could never understand.
If you want to hear a performance with that hammer blow which makes
sense, try Segerstam on Chandos. His third hammer blow conveys the
feeling of fate swatting down a troublesome fly "don't be silly little
man". Sounds just right to me.

Thanks for all the positive responses though people.
-- 
Deryk Barker
Computer Science Dept.
Camosun College,
Victoria, BC
Canada
From: ray@gawain.cif.rochester.edu (Raymond Sunessen Tuttle)
Newsgroups: rec.music.classical
Subject: Picking Shostakovich's "Nose"
Date: 14 Apr 92 21:16:35 GMT
Organization: University of Rochester (Rochester, NY)


 I didn't save the original posting, but for the reader who requested a
recording of Shostakovich's "The Nose," there's one (a 2 CD set) on the
Chand du Monde label, distributed by Harmonia Mundi.  The number is LDC
278 998/99.  It comes with a French-only libretto (boo), but the performance
seems to be a pretty good one. It's conducted by Rozhdestvensky. Hope this
helps.


--
Ray and his two     "Dunkel ist das Leben, ist der Tod,"
little white mice,   but it's nothing to get depressed about.
named Ursula and
Gudrun. *******************************************************
From: ray@gawain.cif.rochester.edu (Raymond Sunessen Tuttle)
Newsgroups: rec.music.classical
Subject: DG's "Siegfried" from the Met
Date: 16 Apr 92 01:09:49 GMT
Organization: University of Rochester (Rochester, NY)

Although "Siegfried" is the third opera in Richard Wagner's "Der Ring des
Nibelungen," it is the last of the four operas to be issued by Deutsche
Grammophon  in new recordings from the Metropolitan Opera under the direction
of James Levine (429 407, 4 CDs).

Interestingly, each successive release has turned out to be a little better
than the previous one. When the cycle started several years ago with "Die
Walkure," there was the sensation of Levine and his cast feeling their way
along in a reading which was competent but lacking a distinctive interpretive
personality. However, this "Siegfried" is a character, and most of the
characterization comes from Levine himself, and the fine Metropolitan Opera
Orchestra (particularly the brass section). Levine's performance is weighty
and slow, but it is never dull, thanks to his concentration and the orchestra's
tonal brilliance. In terms of the orchestral contribution, there may not be a
better "Siegfried" than this one, and that's saying a lot, considering the
fact that both the Berlin and Vienna Philharmonics have recorded this music.

The singers are variable. Reiner Goldberg really does sound too old to be
singing the role of the naive juvenile hero. His performance is tolerable
because of its musicality, but his dry voice makes his scenes with Mime
(Heinz Zednik) the auditory equivalent of seeing double. The Wanderer (James
Morris), Fafner (Kurt Moll) and Alberich (Ekkehard Wlaschiha) have more
appropriate voices, and their performances are similarly distinguished by
their intelligence.

As the Forest Bird, Kathleen Battle's performance is entirely wrong-headed,
much as Joan Sutherland's was decades ago for Solti's recording. This role
needs artlessness, not the knowing, self-conscious quality it receives here.
In contrast, it is hard to put my finger on Birgitta Svenden's under-
characterized Erda. However, the women are single-handedly held up by 
Hildegard Behrens, whose gleaming vocalism makes me wish Siegfried had
awakened her much earlier. At any rate, Behrens certainly sounds radiant
here; I don't sound that good first thing in the morning.

As before, the sound is big-boned and realistic, placing the orchestra close
to the listener, which is entirely a good thing in this performance. I'm happy
that productions from the Metropolitan Opera are finally starting to find
their way into the recording studios, after so many years of neglect. This
"Ring" demonstrates that the Met is alive and well, and still a major force
in the operatic world.


--
Ray and his two     "Dunkel ist das Leben, ist der Tod,"
little white mice,   but it's nothing to get depressed about.
named Ursula and
Gudrun. *******************************************************
Newsgroups: rec.music.classical
Subject: Re: Oboe family (was Re: Cor Angl*)
From: phoogenboom@eagle.wesleyan.edu
Date: 12 Apr 92 15:42:26 EDT
Organization: Wesleyan University

In article <1992Apr8.132018.7306@osf.org>, coren@osf.org (Robert Coren) writes:
> In article <ku4miqINN66i@jethro.Corp.Sun.COM>, drijbo@one-iron.Corp.Sun.COM (Jonathan Osser) writes:
>> As for bass trombones, I've seen a variety of instruments labelled as
>> bass (or contrabass) trombones so I'm not sure what range to compare with
>> the voice.
> 
> The list of instruments at the beginning of my scores of the _Ring_
> (which I presume to have been provided by Wagner himself) includes "4

What is the basis for your presumption?  what edition is it?

> ordinary tenor-bass trombones; 1 contrabass trombone". Trombonists can

Was the rotary valve introduced to the trombone that early to create the
tenor/bass?  I would have guessid it was later but I do not really know.

> (and presumably will) correct me, but I take the former to refer to
> the orchestral trombone in modern use, whose range encompasses those
> of the older tenor and bass trombones. The "contrabass trombone"
> (which he uses sparingly) has a lower range (lower than any
> non-Russian bass voice :-)), although not as low as the "contrabass

How low is that?   ;)

> tuba" (Wagner's name for the modern "tuba", as distinguished from his
> specially-invented "tenor" and "bass" tubas).

Peter Hoogenboom
phoogenb@ucs.indiana.edu
        @iubacs.bitnet
Xref: sparky rec.music.classical:5644 sci.lang:3776
From: smaill@aisb.ed.ac.uk (Alan Smaill)
Newsgroups: rec.music.classical,sci.lang
Subject: Re: Cor ANGLIAS or ANGL'E
Date: 7 Apr 92 23:23:16 GMT
	<SMAILL.92Apr4024354@lomond.aisb.ed.ac.uk> <1068@csinn.capsogeti.fr>
Organization: DAI, University of Edinburgh

In article <1068@csinn.capsogeti.fr> grossi@capsogeti.fr (Thomas Grossi) writes:

   In article <SMAILL.92Apr4024354@lomond.aisb.ed.ac.uk>, smaill@aisb.ed.ac.uk (Alan Smaill) writes:
   |> Well, it's a different  question, but I believe that ( and this is my
   |> favourite etymology (assuming it's true)) the Basset Horn is named after
   |> (pour les amerloques ca se dit "for") a German instrument maker called
   |> Horn.

   Well, I wouldn't dare speak for *all* Americans, but *this* "amerloque" would
   indeed have said "named after..."  But surely you mean "a German instrument 
   maker named Basset" and not "Horn"!

No, I really meant Horn, that's why it's such a good story
(if it's true).  So the "Basset" part presumably says
it's the small bass version of the instrument.


--
Alan Smaill,                       JANET: A.Smaill@uk.ac.ed             
Department of Artificial           ARPA:  A.Smaill%uk.ac.ed@nsfnet-relay.ac.uk
       Intelligence,               UUCP:  ...!uknet!ed.ac.uk!A.Smaill
Edinburgh University. 
Xref: sparky rec.music.classical:5892 comp.music:2433
From: wark@gandalf.think.com (Mark Warkentin)
Newsgroups: rec.music.classical,comp.music
Subject: Re: Help, which instrument?
Date: 15 Apr 92 11:09:38
Organization: Thinking Machines Corporation, Cambridge MA, USA
	<1992Apr15.053153.8791@Princeton.EDU>
NNTP-Posting-Host: gandalf.think.com
In-reply-to: roger@phoenix.Princeton.EDU's message of Wed, 15 Apr 1992 05:31:53 GMT

In article <1992Apr15.053153.8791@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:



   In article <1992Apr15.030528.22310@cunixf.cc.columbia.edu>
    hyx1@cunixa.cc.columbia.edu (Harry Y Xu) writes:
   >Hi,
   >	I plan to put up an effort to learn an instrument over the Summer.
   >I just want to entain my ear (amongst other body parts); just want to learn
   >an easy-to-pick-up instrument.

   Easy-to-pick-up WHAT?  8-)  Yes, it's a great way to meet people, too...

   >	Can somebody give me advise on which instrument is the easiest to 
   >learn?  I know the Q might sound stupid, but can't think of better wording.

   >PS.	I sort of like woodwind and brass, but not sure.

   Recorder, then.  Cheap, most of the music isn't too hairy, and you can
   carry it around with you.

   >	I have no musical potential/intellence.

   DEFINITELY recorder.  8-)

Ack, don't say that!  Not even as a joke.  The saying in early music
circles goes, "recorder is the easiest instrument to play poorly".  I'm
sure we've _all_ heard enough bad recorder playing to last us for a while.
--
         #  The opinions expressed are not my own and I disavow #
         #  any responsibility for them whatsoever. Then again, #
         #  my employer isn't responsible for them, either.     #
From: fredg@escc.com (Fred Goldrich)
Newsgroups: rec.music.classical
Subject: Re: Info requested on Theremin
Date: 9 Apr 92 12:16:08 GMT
Organization: ESCC, New York City

In article <sergeb.702441091@bullyrag> sergeb@bullyrag.ugcs.caltech.edu (Serge Belongie) writes:
>Has anyone heard of an instrument called the Theremin which uses electric
>fields to generate tones?

	The Theremin was named after its inventor, Leon T., who came up
with it in the 1920's.  It is played by moving one's hands back and 
forth -- the right hand controls the pitch and the left hand, the volume.

					-- Fred Goldrich


-- 
Fred Goldrich
fredg@marob.escc.com
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: Bartok String Quartets -- HELP
Organization: Camosun College
Date: Fri, 17 Apr 1992 19:08:42 GMT

In article <LYNN.92Apr16141013@jazz.phx.mcd.mot.com>, lynn@phx.mcd.mot.com (Lynn D. Newton) writes:
> 
>    NOBODY responded to my last posting.  Maybe it didn't make it onto the
>    net somehow -- I'm getting suspicious that something is wrong here.
>    So somebody please reply, even if to say "I ain't got the foggiest".
>    And surely some of the regulars must have an opinion.  The question was:
> 
>      It is time to add the Bartok String Quartets to my collection.  Any
>      recommendations for recordings?
> 
> Some elitist will probably shoot me down, but I've always kind of
> liked my collection by the Tokyo String Quartet (on DG).
> 
> When I was in high school (30+ years ago) I had a set by the Fine Arts
> Quartet which I played and played and played ... until I finally
> literally wore the grooves off them and used them for frisbees or
> something.

Yup I have these. I believe they've recently been reissued on the
newly-resuscitated Saga label.
-- 
Deryk Barker
Computer Science Dept.
Camosun College,
Victoria, BC
Canada
Newsgroups: rec.music.classical
From: dbarker@camins.camosun.bc.ca
Subject: Re: Transcriptions of famous pieces for guitar
Organization: Camosun College
Date: Wed, 15 Apr 1992 21:16:58 GMT

In article <1992Apr15.153536.13034@cbnewse.cb.att.com>, chenl@cbnewse.cb.att.com (julian.l.chen) writes:
>>Well, I think I was badly in need of some profundity, and there is, IMHO,
>>very very little profound music for guitar, whether original or transcribed.
>>
>>-- 
>>Deryk Barker
> 
> On the contrary, I think there are a lot of beautiful music for gutiar,
> both original or transcribed. 

Note that I did _not_ say beautiful, I said profound. Beautiful I'll
grant you, as far as I'm concerned the jury's still out on profound.
-- 
Deryk Barker
Computer Science Dept.
Camosun College,
Victoria, BC
Canada
From: v123ptyu@ubvmsb.cc.buffalo.edu (Sungwoo Kim)
Newsgroups: rec.music.classical
Subject: SHUBERT
Date: 13 Apr 92 21:36:00 GMT
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41


	I just wanted to ask any who remembers of 
	Shubert's very first musical piece.
	It's theme, if I remember correctly, was
	something to deal with Evil dark force.
	
	If anyone remembers of this piece please inform me.

	I appreciate for your help.



						-S.K 
Xref: sparky rec.music.classical:5693 rec.arts.dance:280