HDTenEightyP/NetNews huggingface dataset:
From: jfh@netcom.com (Jack Hamilton)
Subject: Re: KDFC - a question.
Organization: Netcom - Online Communication Services (408 241-9760 guest)
Date: Fri, 6 Nov 1992 06:32:37 GMT

In article <Nov.5.20.39.08.1992.8759@blaze.rutgers.edu> zhu@blaze.rutgers.edu 
(Yi Zhu) writes:
>
>There is this station KDFC whose announcer practices a peculiar way of
>radio hosting.  Before and after a piece is played, he would give the
>usual info about the number, then a pause, then almost as an
>afterthought, adds a 4 digit number, e.g. 1865, 1934, 1786.  I found
>it quite odd, after a couple tunes, I figured out that it is the
>year in which the piece is completed.  So here is the million dollar
>question: Knowing the year(assuming you know what that number means),
>does it help enhancing your enjoyment or understanding of the music
>in any way?

Yes, both enjoyment and understanding.  Enjoyment because I then know more
about the music, and the better I know it the more I'll like it (provided
that it's good music, of course).  Understanding because I then I can try
to figure out out that piece is similar to and different from music
composed before and after it.  I like to guess the date and country of a
composition; sometimes I get the right country within 5 years, sometimes
I'm 2000 miles and 200 years off. 
>
>I think not, so I am not sure about the point of doing it.

This is obviously a matter of taste.

>Incidentally, the same DJ seems to be there all day, and possibly all
>night, with the same monotonic voice.

I don't know exactly how this works, but it's automated.  You might have
noticed that the announcer's name is never mentioned. 

I prefer the automated voice to the live announcers on rival station KKHI;
with the exception of Diane Nicolini, most of them seem completely
brainless.  Live announcers are OK if they're interesting, but the KKHI
announcers only think they're interesting. 

>He'll definitely have a hard
>time making it in the New York market, just think all the commercials
>they can jam in if it weren't for the pauses and the numerics that Mr.
>DJ sprinkles throughout the day.   8-)    

Why would he want to make it in the New York market?  

-- 

-----------------------------------------------------------------------
Jack Hamilton   jfh@netcom.com   P. O. Box 281107   SF, CA   94128-1107
Newsgroups: rec.music.classical
From: tony@cns.nyu.edu (Tony Movshon)
Subject: Re: Brahms
Reply-To: tony@cns.nyu.edu
Organization: New York University
Date: Thu, 12 Nov 1992 16:58:04 GMT

I can't resist adding George Bernard Shaw's view of Brahms to this (quoting
frommemory): "Brahms is like a gigantic baby, who insists on dressing himself
up as Bach or Handel, and making a prolonged and intolerable noise".

To be fair to GBS, he later recanted and allowed as how he had misjudged
Brahms.

------------------------------------------------------------------------
					Tony Movshon

Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
					Center for Neural Science
					New York University
Phone:	   (212) 998-7880		4 Washington Place, room 809
Fax:	   (212) 995-4183		New York, NY 10003
------------------------------------------------------------------------

Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel)
Subject: Re: Prokofiev, Romeo, Maazel/Cleveland
Followup-To: rec.music.classical
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Date: Wed, 11 Nov 92 16:05:14 GMT

In article <Charles.R.Hohenstein.1-081192204730@hesmac23.hesburgh.lab.nd.edu>, Charles.R.Hohenstein.1@nd.edu  (Charles R. Hohenstein) writes...

>I have been attempting to purchase the Maazel/Cleveland recording of the
>complete Romeo and Juliet ballet on London, but it seems to be out of
>print.

It is still available in the catelog, and I have a copy on CD myself.
It is great, too.

Ron
From: cbarber@bbn.com (Chris Barber)
Newsgroups: rec.music.classical
Subject: Chopin's hands (was: It's in the wrists.)
Date: 11 Nov 92 17:05:37 GMT
Organization: BBN Systems and Technology, Inc.

In article <101095@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
>
>
>     Well, I tried playing some Chopin when I realized that my hands
>were a bit small for some of the chords in his music!  I hate that!
>Anyways, I heard that Chopin had big hands, that Rachmaninoff had
>big hands, and that Liszt had real huge hands.

Actually, I believe that Chopin did not have particularly large hands.
I had thought something on the order of a reach of a 10th. There
is supposed to be some casts made of his hand on his death and I think
there might be some copies of these in museums. Has anybody seen one
of these?






-- 
Christopher Barber
(cbarber@bbn.com)
Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Salome
Date: Fri, 06 Nov 1992 05:35:19 GMT
Organization: Colorado State University, Fort Collins, CO  80523

Well, I just bought the Sinopoli recording of Salome with Cheryl Studer in the
title role...It is beautiful!!  I have already listened to it twice (I am used
to Wagner - this is so short!) and there is a lot here to like.  I had never
heard this opera before this evening, and I am quite impressed.  I have heard 
that this piece really caused quite a stir at it's debut...But I don't see
why it is all that shocking.  I guess that the one thing I really don't get is,
what is the POINT of this thing?  I am used to Wagner and hence, looking for
some kind of 'interpretation' for everything that I listen to...It seems to me
that this is just a story, and I should just enjoy it as such.  Does anyone
have any thoughts about this?


 - Mike Hurben

Newsgroups: rec.music.classical
From: alan@highlite.uucp (Alan McConnell)
Subject: Re: HAYDN
Organization: Gotham Communications Research
Date: Wed, 11 Nov 1992 02:14:04 GMT


Roger Lustig, in recommending Haydn string quartets, made a mistake.  I
believe, when he said, "the quartets, from Op 20 on . .", he really meant,
"The quartets, from Op 9 on".  And to the original poster, struggling
to access Haydn, I suggest:

Get yourself a recording of the early symphony subtitled "Evening". 
And play the minuet.  And listen to the string bass, quite alone,
lumber up the scale, awkwardly, yet comically, yet heavenly.  If that
doesn't zibble your pibble, . . . well, I just bet it will!

There are hundreds of other such passages . . but this is the first
that comes to mind.  You have a _LOT_ of pleasure ahead of you.
Best wishes,
Alan McConnell
-- 
Alan McConnell             "What wondrous life is this I lead!
Pixel Analysis              Ripe apples drop about my head . ."
Newsgroups: rec.music.classical
From: hees@cubic.com (Phil Hees)
Subject: Re: The Planets
Organization: Cubic Toll Systems
Date: Fri, 06 Nov 92 20:22:52 GMT

I have to add one more note to this thread:  Isao Tomita has an excellent
electronic interpretation of The Planets, if anyone is interested in
trying something other than the usual symphony versions.  In some
movements he simply aims to recreate the orchestral sounds (with great
success), while in others he takes quite a few liberties.  The synthesized
rolling subsonics at the beginning of Neptune almost make me seasick -
quite an effect.

BTW, I grew up on the Dutoit (London) recording, but thank you all for
suggesting a few others to listen to.

--
Phil Hees
hees@cubic.com
From: car@ramecs.UUCP (Chris Rende)
Newsgroups: rec.music.classical
Subject: Re: New PDQ Bach, Anyone have it?
Date: 7 Nov 92 02:31:39 GMT
Organization: RAMECS, Warren, MI

From article <Bx8uw6.Jtx@encore.com>, by bseymour@encore.com (Burch Seymour):
> 
> I got a new Telarc catalog yesterday and theres a new PDQ Bach CD out.
> Music for A Bunch of Horns and Percussion (or something like that, I
> don't have the book here with me).
> 
> The description sounds interesting, does anyone have it yet? Would
> you post a summary/review please? Or send me mail?
> 
> Thanks,
> 
> -Burch- bseymour@encore.com

My local classical radio station played a section of it the other day
while I was driving home. It was a bassoon piece of sorts... I liked it.
However, it was the name of the piece that really got me:
	"Lip my reeds"

I was laughing so hard that I almost had to pull off the road in
order to regain my composer!


car.
-- 
Christopher A. Rende           Central Cartage (Nixdorf/Pyramid/SysVR2/BSD4.3)
uunet!edsews!rphroy!trux!car   Multics,DTSS,Unix,Shortwave,Scanners,UnixPC/3B1
car@trux.mi.org                Minix 1.2,PC/XT,Mac+,TRS-80 Model I,1802 ELF
trux!ramecs!car     "I don't ever remember forgetting anything." - Chris Rende
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical
Subject: Re: Length of Wagner's operas (was librettos ....)
Date: 6 Nov 92 21:59:54 GMT
Organization: DSC Communications Corp, Plano, TX

1. Wagner's operas are dramatic with lots of action.  But the action takes
   place on a cosmic time scale and a spiritual stage as big as the whole
   cosmos.  Action at the pace of Italian opera or even that of Fidelio
   would be out of proportion to the subject.   To compare it to
   a more recent but well executed example of a "lower" art form, the
   movie "2001: A Space Odyssey" is also action packed, with the action
   on a scale in proportion to the size of its subject.

2. I can't imagine a video production under any circumstances capturing
   visually what Wagner does musically.

3. With a live performance the gestures of cast and stage designers can
   mark out the framework within which the imagination can then work to
   fill in the rest.  (But this is difficult if the director dresses
   Wotan in a business suit and Siegfried and Brunnhilde in hippie 
   costumes).

4. Better to just listen to the music with a libretto and follow as
   closely as you can the action as it unfolds.  There your imagination
   is completely free.  

5. Wagner's forms are indeed comprehensive, as balanced as the tightest
   sonatas of Beethoven, but spread out over four days.  This is not
   my analysis, but Tovey said that many times.

6. Wagner is an exercise in participatory conscious listening.  If you
   want to be bathed in Wagnerian sounds that make you feel good, Tovey
   suggests you try Bruckner instead.

7. I think there may be some audio or video analyses of The Ring that
   go into some of the operas' intricacies.  A good one can help one
   to focus and hear and see things that otherwise might go unnoticed.
   Not only leitmotivs, but attention to his use of harmonies and 
   other musical devices to drive home the drama provide an unending
   source for deeper listening.

8. A work of music exists in time and is experienced with many hearings.
   The Ring is something to grow with.
      
G. Palo

As of today, November 6, 1992, I join with Rush Limbaugh in endorsing
Bill Clinton for President.  Time for a change.
Newsgroups: rec.music.classical
From: potoole@maths.tcd.ie (Peter O'Toole)
Subject: Re: Recomendations on Rachmaninoff's 2nd Concerto for Piano (Cm)?
Keywords: rachmaninoff, concerto, piano
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.
Date: Fri, 13 Nov 1992 13:58:06 GMT

In article <1992Nov12.034351.14665@reed.edu> rseymour@reed.edu writes:
>
>	What are particularly good recordings of Rachmaninoff's Second Concerto  
>for Piano in C minor? I'd like one with both good sound quality, and a notable  

There was a truly exceptional version done by Joseph Cooper. It's probably
not available any more but watch out for a reissue. Cooper was a pupil
of Petri and anyone who heard this version agreed with me.

Peter O'Toole,
Trinity College Dublin.

Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Recomendations on Rachmaninoff's 2nd Concerto for Piano (Cm)?
Keywords: rachmaninoff, concerto, piano
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 12 Nov 1992 12:54:37 GMT

In article <1992Nov12.034351.14665@reed.edu> rseymour@reed.edu writes:
>
>	What are particularly good recordings of Rachmaninoff's Second Concerto  
>for Piano in C minor? 


Richter, on DG.

:
 
>	   Last, what other pieces, recordings do you consider amoung  
>Rachmaninoff's best (either before or after his counseling).



Rautavaara, Piano Concertos 1 & 2, on Ondine.  Oops.



>
>--
>Robert Seymour				rseymour@reed.edu
>Departments of Physics and Philosophy
>Artificial Life Project			Reed College
>Reed Solar Energy Project (SolTrain)	Portland, OR

Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Brahms
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Thu, 12 Nov 1992 22:21:28 GMT

In article <1992Nov12.132414.13050@lloyd.Camex.COM> Chris Ischay writes:
>If, however, you have a natural inclination toward chamber music, and if
>you still insist on stuffing Brahms down, you might try the viola sonatas.
>Some will claim that these were written for clarinet and only transcribed
>for viola.  No matter.  I think they sound generally unimpressive when
>played on the clarinet, and they sound downright ugly on the viola --
>UNLESS you can find William Primrose's recording.  This man makes more
>sense of the music than anyone else I've ever heard, and I would say his
>recording is worth seeking out.  No idea of it's around on CD these days.

Surely Gervase DePeyer's clarinet recording of the op.120 on Chandos is one
of the best chamber music performances on disc.  No one could play these
better -- particularly for pure musical understanding and quality of tone.

Personally, I like Brahms.  His chamber music is the best of any of the
big name composers.  But of course anyone who knows me knows I have more
than a little bit of old fogey in me.  It's the austerity of many of the
pieces that attracted me to them -- it takes me a lot more effort to get
past a lot of wallowing and "impressive" sound.

My favorites:
Clarinet Quintet, op.115
String Quintet in g, op.111
Double Concerto, op.102
Piano Concerto in Bb, op.83
(check out Steven Hough's recording on Virgin)
and of course,
Clarinet Sonatas, op.120

One thing that I have become increasingly convinced of since listening
to more and more music: the three big Bs really *are* that good.

T. M. McComb

Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Berlioz
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 12 Nov 1992 00:20:05 GMT

In article <1992Nov10.180339.7222@telesciences.com> dstrait@telesciences.com (Darin Strait) writes:
>Can someone recommend a CD pressing of Berlioz's Symphonie Phantastique (sp?)
>that I can find in the local Tower Records?
>
>I am a novice at classical music, and would have grabbed the Telarc disc
>with the Baltimore (?) Philharmonic, but I am unfamiliar with their reputation.
Philly w/Muti is very nice.


Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Quartet
Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Re: Best recording of "1812 Overture"?
Date: Tue, 10 Nov 1992 05:26:26 GMT
Organization: Colorado State University, Fort Collins, CO  80523

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. :(


_______________________________________________________________________________
		   
				       Die Welt ist tief!
  Michael Hurben                       Und tiefer als der Tag gedacht!
  Dept. of Physics                     Tief ist ihr Weh!
  Colorado State University            Lust tiefer noch als Herzeleid!
  Ft. Collins, Colorado                Weh sprich: Vergeh!
  hurben@lamar.colostate.edu           Doch alle Lust will Ewigkeit-
				       Will tiefe, tiefe Ewigkeit!
						-F. Nietzsche
_______________________________________________________________________________
From: hbaldwin@mizar.usc.edu (Harry Baldwin)
Newsgroups: rec.music.classical
Subject: Re: Bernstein conducts Bruckner, Sibelius, and the "Final Concert"
Date: 11 Nov 1992 15:30:51 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: mizar.usc.edu

In article <1992Nov9.001424.6118@galileo.cc.rochester.edu> rtut@troi.cc.rochester.edu (Raymond Tuttle) writes:
(re: Bernstein's recording with Vienna)

>Sibelius' First Symphony has been criticized for sounding too much like
>chilly Tchaikovsky, but Bernstein's stark and powerful treatment of the
>music pulls it firmly back into Scandinavia.  Bernstein emphasizes the
>music's gloomy violence, and it is difficult to hear the symphony as
>anything other than a tragedy of the collective human spirit in this
>performance.  Slow tempos stretch the symphony to a duration of 41
>minutes, but the work never bogs down as it can in some brisker
>recordings.  DG does not provide a coupling, but this should not dissuade
>one from obtaining this recording. 

I concur that this recording is powerful.  I have never found the 1st to be 
gloomy or chilly, rather an expression of deep and tragic yearning that may be 
Tchaikovskian in degree and force, but with its own nordic sense of the tragic.
Especially the haunting theme carried by the violins in the 1st movement that
Sibelius uses so sparingly but which then underlies the rest of the symphony.
I have just started collecting Sibelius' symphonies and this is the first that
I felt I had to have.  This has probably been asked many times in the past, butI would like to hear some recommendations on the other six and Tapiola. I 
have Yervi's version of the four legends but I heard Salinen conduct it last
week with the LA Symphony and felt he built the structure more carefully and
less precipitously, and for the first time made the last movement sound as if
it belonged with the preceding three and wasn't a galloping, tacked-on 
afterthought.

Newsgroups: rec.music.classical
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Re: STRAVINSKY
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 7 Nov 92 22:10:23 GMT

Rob Brooks writes:
>Josh Stern writes:

>> (haus der luge) writes:

>|>I recall somebody here mentioning that they have a copy of the 'RITE OF 
>|>SPRING' for ONE piano.

>> 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.

>I may be competely imagining this but I think I remember Zander saying that
>the pianola roll was done by Stravinsky himself (with a few "cleaning up"
>jobs done later).  He must have been quite a pianist.

I believe that Stravinsky did do the pianola roll himself - BY HAND
(hence my remark about "literally knife-edged precision").
My information comes solely from the recording and associated literature
of the IMP disc mentioned above.  I'll check there again when I get
home, and post if I find otherwise.

Josh
From: icking@gmd.de (Werner Icking)
Subject: Re: It's in the wrists.
Organization: GMD, Sankt Augustin, Germany
Distribution: usa
Date: Wed, 11 Nov 1992 20:10:07 GMT

In <1992Nov9.071240.2670@EE.Stanford.EDU> jon@playfair.Stanford.EDU (Jon Buckheit) writes:

>(btw, I always heard that Liszt had long fingers, but hadn't heard his
>reach was especially large.  Rubinstein had a big stretch, probably around
>12 keys).

On Ferenc-Liszt-place in Budapest there is a sculpture of him; the
first impression:
                              FINGERS

Werner

--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
From: spahr@hpwala.wal.hp.com (Lani Spahr)
Newsgroups: rec.music.classical
Subject: Re: Bach's Christmas Cantanas
Date: 9 Nov 92 18:21:27 GMT
Organization: Hewlett-Packard Company

In article <6635@otc.otca.oz>, alexk@otc.otca.oz.au (Alex Kowalenko) writes:
|> On the theme of Christmas music. Does anyone have recommendations on Bach's Christmas
|> Cantanas.  I've heard that there are 6 but usually 4 are performed.  Do the CD's avaialable
|> have all the six.
|> 
|> I'm studying trumpet so I'm interested in good trumpet performances on the CD. 
|> 

The works that you refer to make up what is know as the Christmas Oratorio.  Six
individual cantatas, and yes, all 6 are performed, not just 4.  As for recordings, if you like period (baroque) instruments, I would recommend
John Eliot Gardiner/English Baroque Soloists.  If you want a modern instrument
performance with superior trumpet playing, try to find Richter/Munich Bach
Choir & Orchestra .  It features Maurice Andre' on trumpet (can't get much better than that).  I don't know if this is available on CD, I own it on 
Archiv records.

Lani Spahr
spahr@hpand5.and.hp.com
Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Stravinsky, Gesualdo
Organization: Educational Computing Network
Date: Mon, 9 Nov 1992 00:22:04 GMT

In article <1992Nov8.062309.17089@netcom.com> bryan@netcom.com (Bryan Higgins) writes:
>leighann@rocky.sybase.com (Leigh Ann Hussey) writes:
>
>>Many years (like 10) back, I saw a recording in a store, which appeared to
>>be Stravinsky arrangements of pieces by Gesualdo, or something like that --
>>anyway the names of the two composers figured prominently on the cover
>>(which, as I recall, was silver metallic).  Has anybody seen this album?
>
>I've got it.  It's a collection of Gesualdo's madrigals, one keyboard piece,
>and one piece by Stravinsky entitled "Monumentum pro Gesualdo" for orchestra,
>a kind of Gesualdo pastiche.  A Columbia Special Products LP, I'm sure long
>out of print.

It is on Volume X of the Sony Classical Complete Edition.  
So are the arrangments of the madrigals.  Some volumes are sold
as a single release, but not this one.  

Jeff


From: zornow@hpcc01.corp.hp.com (Claudia Zornow)
Date: Mon, 9 Nov 1992 17:19:34 GMT
Subject: Re: KDFC - a question.
Organization: HP SSD R & D
Newsgroups: rec.music.classical

bil@cmn14.Stanford.EDU (Bill Schottstaedt) writes:

> There was a short time (about 6 months) when the bay area actually
> had a great classical music station, but only at night -- some
> rock station had decided to change format to country, if I
> remember right, and the process got held up somewhere in the
> FCC, and in the interim they had an engineer named Bob Young
> who didn't care what he broadcast, and had a huge library of
> music to draw on.  He started taking requests...

Last April Fools' Day KFJC, the Foothill College station (which
usually plays the typical college alternative mishmash, but they
have a great Saturday morning movie soundtrack/TV theme/show tune
program, but I digress...), went classical for the day.  Between
pieces the announcer would say, in his plummiest voice, "KFJC;
your college concert hall."  No commercials, either.

I agree about the glut of baroque on the Bay Area morning airwaves.
KDFC is by far the worst offender in this regard; KKHI will occasionally
give us some Rossini or even Wagner after the morning march.

Claudia
Newsgroups: rec.music.classical