HDTenEightyP/NetNews huggingface dataset:
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Newsgroups: rec.music.classical
Subject: Re: Requia
Date: 13 Dec 92 19:12:28 GMT
Article-I.D.: news.2B2B8B1C.23882
Organization: University of California, Irvine

In article <1992Dec11.151545.18727@sifon.cc.mcgill.ca> rags@triples.math.mcgill.ca (Robert A. G. Seely) writes:
>In article <r8ubopx@Unify.Com> dbrus.Unify.Com.ceb@unify.uucp (Caroline E. Bryan) writes:
>>
>>I know I listen to others but they're all 19 miles from here.  Can someone
>>recommend others?
>>
>>
>
>
>Johannes Ockeghem - Requium mass - Pro Cantione Antiqua, Bruno Turner dir
>(Archiv)
>
>TLde Victoria - Requium - Tallis Scholars, Peter Phillips dir (Gimmell)
>

I second these two recommendations.  And, I'll add a short piece
by Josquin Des Prez ...  his eulogy on the death of Ockeghem.
(?? d' la morte d' Ockeghem) (liturgically not a requiem, but beautiful.)
 
Also, for twentieth century choral music, try Britten's "War Requiem".
I recommend the Hickock performance on Chandos.  It's great and the
two CD set has the Symphonie d'Requiem as filler.

John D.
Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Harnoncourt and Svedja
Date: Fri, 18 Dec 1992 18:20:47 GMT
Organization: Colorado State University, Fort Collins, CO  80523

  I have noticed that many people express some interest in Harnoncourt and
his Beethoven symphonies.  I have only heard a few of his interpretations,
mainly from "The Record Shelf."  As you probably know, Jim Svedja regards
NH as "an incompotent bozo," and from some disgusting Baroque recordings I
heard, I would have to agree - I heard some Handel on period instruments that
was just comical...  So I am very curious how this guy does Beethoven.
  This also brings up the question of what to think of JS.  In general, I tend
to agree with his recommendations, but there are exceptions.  For example, he
says of Karajan's Parsifal : "I wouldn't wish it on a dog,"  while I think
it is one of the finest recordings I own.  So if I am suspicious of NH, it is
not because JS does not like him, but simply because I have heard only rotten
music come from him.  What do you think?


Mike

Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Sinopoli's "Madama Butterfly" recording
Organization: Visual
Date: Thu, 17 Dec 92 12:12:17 GMT

An earlier posting mentioned Freni in this set.  I'd like to bring
up the entire recording as a whole.  Has anyone listened to this?  I'd
especially appreciate some informed opinions from the likes of Jon Conrad
and Vinh Nguyen.  

Sinopoli takes everything very slowly, but what results (to my ears) is
one of the most gorgeous performances of any opera that I've ever heard.
Once I got used to it, and let the music just wash over me, the
tempos weren't troubling at all -- in fact they seemed to bring out the
majesty of the opera in ways I'd never considered possible.  And the 
recording brings out more orchestral detail than ever, proving Puccini
to be a very gifted composer indeed.

It's not my desert island "Butterfly" (that would be the Barbirolli with
Scotto), although, come to think of it, I do find myself turning to it
quite often....  

I'm also pleased to hear Freni reaching for the high notes at the end of 
Butterfly's entrance and in the love music.  Isn't she getting on in years?
If indeed she's no spring chicken, then the performance is all the more
remarkable.  And how nice to hear a Suzuki who doesn't woof all over the
place.

Rob





Newsgroups: rec.music.classical
From: al21146@uxa.cso.uiuc.edu (Richard Feynman Albert Li )
Subject: Re: Carl Schuricht
Organization: University of Illinois at Urbana
Date: Thu, 17 Dec 1992 02:23:15 GMT

>set.  Some live Bruckner recordings exist on CD, but I haven't heard 
>any of these yet.
 
 The Bruckner 8th and 9th are in a box set issued by EMI for the price
of one CD. They are very good performances, compared to some recent
releases(Solti's Bruckner 8th. The brass are too loud. In fact, I would
claim that it is the worst Bruckner 8th I own.)
From: david@elwood.NoSubdomain.NoDomain (David Johnson)
Newsgroups: rec.music.classical
Subject: Re: Standing ovations? [Re: Too Polite]
Date: 19 Dec 92 00:00:28 GMT
Distribution: rec

In article <1992Dec15.163627.18533@husc3.harvard.edu>, elkies@ramanujan.harvard.edu (Noam Elkies) writes:
|> In article <1992Dec15.150531.19216@news2.cis.umn.edu>
|> jill@gopher.ccbr.umn.edu (Jill Hollifield) writes:
|> "I live in Minnesota, "Home of the Obligatory Standing Ovation" (tm).
|> "I have never been to a concert where there wasn't a SO, whether
|> "the performance was good, bad, or indifferent.
|> "
|> "So, my questions:  Does this happen anywhere else?  And what are *your*
|> "criteria for a standing ovation?  What has to happen to bring you
|> "to your feet?
|> 
|> What seems to happen too often is that enough people stand up in the
|> front rows to initiate a chain reaction wherein everybody must stand
|> just to see the stage...

Here in San Diego, standing ovations are giving for either great performances
which are especially moving or inspiring.  Sometimes only because the work
is loud and booming.  The performance was not exceptional,
just that the work gets
people excited.  A "jump on the bandwagon" effect sometimes happens.
A few people stand up and others join in, then others join in ...

-- 
David Johnson
XLNT Designs, Inc. (XDI)
david@xlnt.com
Xref: sparky rec.music.classical:18675 ne.general:3458
From: beh@kropotkin.gnu.ai.mit.edu (various Howellses)
Newsgroups: rec.music.classical,ne.general
Subject: Re: Music Schools
Date: 15 Dec 92 22:22:06
Organization: Internet access via the Free Software Foundation
NNTP-Posting-Host: kropotkin.gnu.ai.mit.edu
In-reply-to: MICHAEL.WILLETT@OFFICE.WANG.COM's message of 15 Dec 92 17:05:29 GMT


Michael, thank you for pointing out these folks to me.  I will look for
performances by them, and will try to attend.  It's obvious to me I don't
get out as much as I should.

Do you mean *Martin* Katz, btw?  When I studied with him at UMichigan, he
was a good source of information.

Of course, he's now at NEC part time as well as at U of M full time.

The thing I've noticed most about the voices here is that they are being
trained in what I would consider to be a slightly different style (NOTE:
NOT ALL, BUT MOST) from what I have grown accustomed.  Also, I've become
more used to hearing graduate school singers who are older (i.e., late
30's, 40's) and therefore are more vocally mature.  There is someone in the
DMA program at UM right now who is taking leave from NYCOpera.  I guess
THAT is the comparison I was trying to make.

And again, I've just not heard enough, obviously.  Maybe soon.  

-N
--
If it's me, it's not the other one.  If it's the other one, it's not me.
But then again, we're basically one and the same... oh bother, we're
--Various Howellses (Bruce and/or Nancy)
beh@gnu.ai.mit.edu
Newsgroups: rec.music.classical
From: tait@cs.columbia.edu (Carl Tait)
Subject: Gieseking's Rachmaninoff (was Re: Reply to Greatest Living Pianist)
Organization: Columbia University Department of Computer Science
Date: Tue, 15 Dec 1992 04:57:23 GMT

In article <DG.92Dec14145935@dgupta.hpl.hp.com>
dg@dgupta.hpl.hp.com (Dipankar Gupta) writes:
>
>Seeing the following:
>   : 
>   : Top tier: *Sviatoslav Richter, Emil Gilels, Rudolf Serkin, Artur
>   : Rubinstein, Walter Gieseking, Dinu Lipatti, Wilhemn Kempff, 
>
>reminds me of a note in a Rachmaninov Concerti flyer, which claimed
>that Rubinstein was forced to cancel his performance of the fiendish
>3rd after Gieseking gave a brilliant rendition of the same.
>
>I was wondering if this performance is available. 

Live 1940 Gieseking performances of Rachmaninoff's Second and Third
Concertos are available on Music & Arts CD-250.  The Concertgebouw
Orchestra is conducted by Willem Mengelberg.

The performances are exciting, but uneven.  In the Third, Gieseking
does a great job in the first movement, but the rest of the piece is
weaker -- sounds like it's in danger of falling apart at any moment.
The tempo is VERY fast.

I didn't realize Rubinstein had ever studied the Third, much less
considered performing it.  Are you sure those liner notes weren't
talking about Rachmaninoff himself?  The composer said he felt no
need to perform the concerto since both Gieseking and Horowitz
could play it so brilliantly.

Carl Tait
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.classical
Subject: Re: one-work composers?
Date: 15 Dec 1992 20:26:44 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

elkies@ramanujan.harvard.edu (Noam Elkies) writes:
>How about Franz X. Gruber --- is anything by him ever performed besides
>the thrice-familiar Stille Nacht?  [Our on-line catalog does reveal
>scores of two German Masses, a German Requiem, and a "Missa in
>contrapuncto", but no recordings at all.]

I saw an all-Gruber CD at Tower last year, so there is a recording.

--James Langdell       jamesc@eng.sun.com
  Sun Microsystems     Mountain View, Calif.


Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Virgin Classics, R.I.P. (was: Re: Britten: A Midsummer Night's...)
Organization: University of Delaware
Date: Mon, 14 Dec 1992 14:45:33 GMT

In article <1992Dec12.232346.7430@u.washington.edu> allyn@milton.u.washington.edu (Allyn Weaks) writes:

>Sad to say, Virgin Classics is no more.  They weren't just releasing their
>things under the EMI brolly - they were bought outright, and have now been
>discontinued.  Whether EMI will release or rerelease much of the catalog,
>or when, is anyone's guess at this point.

It's more than a guess, unless EMI has superseded its own press
announcement of a month ago.  They said specifically that they will be
releasing and reissuing Virgin material on the Virgin label, though now
all handled by EMI.  Thus it will all have new catalog numbers, and thus
the old issues have been deleted.

So your statement is inaccurate, unless you've heard something more up
to date than I have.  Certainly EMI *has* been bringing out Virgin
Classics in the last month, though not the specific things I've been
looking for.

Jon Alan Conrad
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Requia
Date: 12 Dec 92 10:51:51 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

>In article <r8ubopx@Unify.Com> dbrus.Unify.Com.ceb@unify.uucp (Caroline E. Bryan) writes:
>>Contrary to the recent assertion by one of our opera buffs that non-opera
>>classical music fans invariably point to symphonies as the only music they
>>listen to, I'm a devoted fan of Requiems (Requia if your Latin's not so
>>rusty).

Although I disagree that classical music fans only listen to symphonies,
the "comeback line" for this is that (as Milwaukee Symphony Chorus
director Margaret Hawkins pointed out) the "mass" including the "requiem
mass" is choral music's "symphonic form."
  Better explanation for most commonly heard forms: historical range of
the average listener's repertoire.

Cheers,

--Mark

=====
Mark Gresham
dscatl!mgresham@gatech.edu
=====

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Ruinous endings (was: The BEST Finale)
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 18 Dec 1992 00:47:34 GMT

broken@venison.bae.bellcore.com (Tony Brokenborough) writes:
: In article <92352.133000RHASKINS@UMAB.BITNET>, Robert Haskins <RHASKINS@UMAB.BITNET> writes:
: |> Simon.N.McRae@dartmouth.edu (Simon N McRae) writes:
: |> 
: |> > Has anyone considered on the other hand the most ruinous endings?  I
: |> > mean by this the worst tie up's to otherwise wonderful music.  I'd have
: |> > to nominate in this catgory any Italian opera by Mozart.
[....]
: How about the ending to Bruckner's so-called 'Romantic' symphony.
: 
: The ending is exactly like the rest of the meaningless noise in the score....
: BORING !!!!!!!!!`

Now is this a comment on this particular symphony - which I agree is
Bruckner's weakest - or another attempt to run down his genius?

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: zornow@hpcc01.corp.hp.com (Claudia Zornow)
Date: Fri, 11 Dec 1992 23:27:55 GMT
Subject: Re: Out of practice - what to do?
Organization: HP SSD R & D
Newsgroups: rec.music.classical

I find that short-term lack of practice hurts me most in
terms of my embouchure (on clarinet or flute).  Tone,
intonation, and articulation (especially attacks) suffer
as a result.

After a longer lack of practice, my sight-reading skills
start to go.

When I return to flute after not playing it for a while,
what I find useful is Trevor Wye's book on "Tone."  He
emphasizes long tones, slurs, and lots of listening.
I don't even think about technique (not that I have any
on flute to think about) until I can find an embouchure
again that doesn't sound like a leaky tire.

Claudia
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: re: The BEST finale!
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Wed, 16 Dec 1992 18:07:56 GMT

In article <1gnii7INNibh@master.cs.rose-hulman.edu> stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
>I just listened to Brahm's Symphony #1 over and over and over...  The  
>final movement is possibly the BEST ending to a classical piece I have  
>ever heard!  That sparked me to ask this question to find out what else I  
>should listen to to hear some amazing endings:
>
>What is YOUR favorite ending or finale to a classical piece?
>
>--
>Kevin T. Stiner                    |"Space is big, really big!"
>stinerkt@nextwork.rose-hulman.edu  |--Hitchhiker's Guide to the 


Well, there are different 'classes' of endings, which really shouldn't
be compared. My favorites, all different, are:

Mahler, Symphony #2		(loud)
Bartok, String Quartet #6	(quiet)
Vaughan Williams, Symphony #5	(quiet)
Carter, String Quartet #2	(?)


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: ideal christmas cds
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 15 Dec 92 00:52:12 EST

Here's the ideal Christmas gift for the music lover you love to hate!

Francesco d'Avalos, The Philharmonia play
The Complete Orchestral Works of Muzio Clementi
Two Symphonies, Op 18; Four More Symphonies, WoOp; Two Overtures;
One Piano Concerto; Minuetto Pastorale; & "The Great National"
3-ASV DCS 322

Sheeesh! Imagine what 3 and half hours of Clementi sounds like when he
has the *entire* orchestra to practice with!

                 ___
                (o o)
                 !O!
                  -

(Does this remind *anyone* of Edvard Munch?!?)

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Re: Greatest living pianist(s with a recording contract)
Organization: Dept. of Mathematics, U. of Chicago
Date: Wed, 16 Dec 1992 05:29:37 GMT

In article <1992Dec15.190138.553@fid.morgan.com> apter@fid.morgan.com (Steve Apter) writes:
>In article <1992Dec14.025630.21224@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>>Steve Apter (apter@fid.morgan.com) wrote:
>>: In article <1992Dec9.194100.14100@visual.com> rwh@visual.com (Rob Holzel) writes:
>>: >Deryk Barker writes:
>>: >
>>: >> If you want to argue about who the greatest living
>>: >>pianist is, I'll nominate Sviatoslav Richter.
>>: >
>>: >Agreed.
>>: >
>>: >
>>: >
>>: 
>>: Michelangeli, Joao Carlos Martins, Marc-Andre Hamelin, 
>>: Afanassiev, Ronald Stevenson, Jeffrey Swann, Alice Ader,
>>: Batagov:  I'll listen to anything they commit to disk.
>>: 
>>: 
>>: (Who am I forgetting?)
>>: 
>>Chrystian Zimerman?  :-)
>>
>>
>>John
>
>Yes, thanks.  Two recent recordings of CZ's which impressed
>the hell out of me are both on DG:  one of the Schubert
>Impromptus, the other of the Lutoslawski Piano Concerto.
>Anything else you care to recommend?
>
>
>
>
>

Without any doubt, his recording of the Piano Concerto #1 with
Kondrashin conducting. In spite of less than spectacular (live)
recording, noisy audience (rustles and coughs galore), it is one of my
personal desert island items. The only word that I can think of to
describe the slow movement is "exquisite".
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: The BEST finale!
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 18 Dec 92 16:23:10 GMT

In article <1992Dec17.203233.25237@walter.bellcore.com> broken@venison.bae.bellcore.com (Tony Brokenborough) writes:
>
>Bruckner ????? 
>
>Can any good thing come from him ?
>

Quite a lot already has, m'laddie.

John D.


Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Requia
In-reply-to: dave@stl.panasonic.COM's message of Sat, 12 Dec 1992 07:29:50 GMT
Organization: pubs
Date: 14 Dec 92 10:33:29 CST

Dave LaDelfa writes:

   John Rutter is a contemporary (meaning still alive and writing) 
   composer who writes and records music that is easy to enjoy from
   listening number one, and is therefore looked down upon as an
   unsophisticated hack by modernist composers and music critics. His 
   Requiem is pretty and catchy without being soppy or banal (I think);
   I have to admit it's a cheap thrill, especially compared to the
   War Requiem, but it's a good cheap thrill and it seems to get
   better with repeated listenings. By the way, if you like the 
   Requiem, check out Rutter's Magnificat. It rocks.

   I ought to mention Andrew Lloyd Webber's "Requiem," ...

It's appropriate to mention ALW right after Rutter.  Although Rutter is
just fine as a conductor, his composition falls into the same
simplistic, easy effects as Webber's.  Their prettiness is empty, their
catchiness is cheap, and the whole thing *is* soppy and banal.  This is
the general cultural effect that I associate with the Reagan era; maybe
Thatcher had the same effect over there.

Chris Brewster
cb@cray.com
From: chrisr@hpcvra.cv.hp.com (Chris Robson)
Newsgroups: rec.music.classical
Subject: Re: How to read orchestral scores?
Date: 18 Dec 92 19:18:46 GMT
Organization: Hewlett-Packard Co., Corvallis, OR, USA

The Norton Scores (2 volumes) are good for practice. I used to be able to
follow scores quite well when I was a teenager, but when I started doing it
again a year or so ago I found it quite difficult. I got copies of the
Noton anthologies, which contain selections of scores for major pieces
in all genres (so they are cost effective for practice). The key thing is that
the 'predominant' line is highlighted which makes them a lot easier to
follow. I am now a lot better at following scores than I was a couple of
years ago (even without the highlighting!).


			Chris. xxx.


________________________________________________________________________________
    "It's a sobering thought that by the time Mozart was my age he had been
                    dead for two years" - Tom Lehrer.
________________________________________________________________________________
Chris Robson, MS 5UR5			Phone:	(503) 750-2766
HP Corvallis Division			Fax:	(503) 752-7811
1000 NE Circle Bvd.
Corvallis, OR 97330			E-Mail:	chrisr@hpcvra.cv.hp.com
USA
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Why no amplified solos?
Date: 18 Dec 92 00:39:29 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <BzDoqu.Jv8@mach1.wlu.ca> mart4678@mach1.wlu.ca (Phil Martin u) writes:
>First, let me make it clear that I am not trying to be a smart-ass rock-head
>who doesn't understand the concept or the innate beauty of accoutic recordings.
>
>With that said, here is my question:
>
>"Why do you never hear concerts of symphonic works performed on 'electric'
>instruments?"

From your next comments, I assume you mean "western art music" by
"symphonic" (not to be a smart-assed pedantic word monger, but I think
your use might have invoked any flames from people who misunderstood).

>I understand that it really wouldn't work for large orchestras, but it seems
>to me that it could be very effective in a situation where there is one 
>instrument (like a 'cello) accompanied by another (like a piano). Has this
>sort of thing been tried much? It's just that everytime I go to a concert,
>and the soloist goes into a cadenza, I can't help but think of how much more
>interesting it would be to listen to if there were a couple of foot pedals
>hooked up to the instrument. If you watch the likes of Neil Young, or Jimi,
>or Chris Duarte, during the course of a solo they will change the sound of the
>instrument several times by selecting different pedals, switching between 
>different pickups, and putting feedback to use in various ways.

You need to look into the work of contrabassist Robert Black (not the
NYC conductor) who plays with the Hartford (CT) Symphony.  He has an
extensive repertoire of works for amplified contrabass, synthesis processed
contrabass, midi bass, etc. including "performance art" (theatrical)
pieces for solo contrabass.
  If anyone is interested, Robert does do touring recitals and would love
to be hired to do one in your town or city.  We brought him to Atlanta
one year to do a recital and it was quite a remarkable (and compelling)
performance.
  You could probably look him up by calling the music union in
Hartford, or by contacting the Hartford Symphony.

Your intuition, Phil, is right down the line of what many performers have
been doing for a number of years, but it's difficult to fing their
recitals.  You really have to hunt them down.

Why not work with your University to get Robert to do a recital and a few
masterclasses there?

--Mark Gresham
dscatl!mgresham@gatech.edu
=====

Newsgroups: rec.music.classical