HDTenEightyP/NetNews huggingface dataset:
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Subject: Operafest '92 Starts Massachusetts Tour
Organization: Mail to News Gateway at Wang Labs
Date: 30 Jul 92 13:35:28 EST

QUINCY, MA--(July 30, 1992)--Opera at Longy Director Donna
Roll wrapped up her Operafest '92's final performance at
Eastern Nazarene College in Quincy last night, and prepared
her 34 member opera company to go on tour.  Thursday's
performance will be at Mashpee on Cape Cod and Friday's
at Wheaton College in Massachusetts.  Most members of
Operafest '92 are fairly recent graduates of leading
conservatories and universities, accompanying some more-
professionally experienced members of the Boston opera
community.

Highlights of last evening's performance included mezzo Elisabeth
Borg in the roles of Carmen from Bizet's opera and Emilia from
Otello.  Mezzo Dianna Daly starred as Cenerentola and Hedwiga from
Rossini's William Tell.  Both are rather recent graduates of Smith
College, and are testimony to the strong voice program at Smith.

Soprano Ana Lorenz sang the role of Clorina in La Cenerentola,
demonstrating her wide range, accompanying Dianna Daly.

As expected, the audience enjoyed the powerful voice of leading
soprano Melissa Wilkison who is now appearing with a few major US
symphonies, but not yet with any international symphonies.  She
sang the role of Mathilde in William Tell and Elaisa in
Mercadante's Il Giuramento, accompanied by soprano Penny Rubinfield.

Local favorite John Archer excited the audience with his
interpretion of the count in Mozart's Marriage of Figaro,
accompanied by Gayle Berman as Suzanna.  Frank Ragsdale and
Robert Vanaria were among others turning in strong performances
last night.

Donna Roll concluded the Operafest '92 season at Eastern
Nazarene College by asking soprano Kim Griffing, a fairly
recent graduate of the leading Boston University opera
program, Elisabeth Borg, and Penny Rubinfield to take a bow
for their Operafest '92 performance Saturday at Great Woods,
together with the Rhode Island Chamber Orchestra.

After the Operafest '92 Cape Cod tour is completed, many of the
same opera celebrities will continue this fall performing at
the Longy auditorium in Cambridge, interrupted by appearances with
various U.S. symphonies.  However, they have also expressed
enthusiasm about appearing with symphonies in Europe and the Pacific.

Donna Roll is the Director of the graduate Opera at Longy program
at the Longy School of Music, in Cambridge, Massachusetts, next to
Harvard University.  An internationally acclaimed soprano, she shares
this activity with appearing with major symphonies around the world.
Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Villa-Lobos box set on EMI
Date: Fri, 24 Jul 92 18:40:12 GMT
Organization: School of Computer Science, Carnegie Mellon

EMI France has reissued a 6-disc budget-priced set of Villa-Lobos
conducting the Orchestre National de la Radiodiffusion Francaise in the
following works:

	The Discovery of Brazil
	Bachianas Brasileiras 1-9 (complete)
	Choros nos. 2, 5, 10, 11
	Piano Concerto no. 5
	Symphony no. 4
	Momoprecoce for piano and orchestra
	a few other small pieces

Unfortunately, although most of the recordings were done between 1957 and
1959, the whole set it in mono.

I read a rave review of this set in a recent issue of _Fanfare_, and in
fact it actually made the 1991 "Want List", so I decided to order.  I
received this set in the mail yesterday, and today in the office is the
first chance I've had to listen to any of it.  The office environment is
quite poor because of the background noise and activity, so I can never
really make an accurate judgement about a recording here.

However, the whole orchestra, especially the trombones, were so horrible in
the 2nd part of the Bachianas Brasilieras (yes, that's the singular) no. 2
that my officemates and I broke out in laughter.  On the plus side, it
reminded me of the good ol' days back in high school band!  Fortunately,
the rest of what I've heard so far (about 1.5 discs) doesn't seem as bad,
although in the last part of the Bachianas Brasilieras no. 7 the brass is
quite poor.

Although I'm sure the performances have much in their favor, part of me
dreads listening to this whole set on my stereo at home.  I suspect the
remaining 4.5 discs have a few nasty surprises waiting for me.

And in the meantime, in response to the Beethoven Piano Sonata thread, a
lack of technical polish becomes too much when it causes the listener to
roll on the floor with laughter!

-chris
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Mozart, c'est qui? [Re: minimalism]
Date: 22 Jul 1992 16:51:50 GMT
Organization: CS Division, UC Berkeley
Distribution: world
NNTP-Posting-Host: ginkgo.cs.berkeley.edu

In article <1992Jul22.022007.26318@slc.com>, marcs@slc.com (Marc San Soucie) writes:
|> 
|> Dare I suggest that Glass is the Mozart/Haydn/Vivaldi of our time? Cranking 
|> out endless variations in a single style with little significant change?

In article <1992Jul22.040947.11617@fid.morgan.com>, steve@fid.morgan.com (Steve Apter) writes:
|> 
|> The music?  Keep it simple, stark, and ugly.  Wolpe, for example.  Or Mozart.

Who next?  Frank Zappa?  Fiddlin' John Carson?  Richard Feynman?
From: bonness@cae.wisc.edu (Matthew Bonness)
Newsgroups: rec.music.classical
Subject: Feminist Musicology
Date: 23 Jul 92 21:35:23 GMT
Organization: U of Wisconsin-Madison College of Engineering

Can anyone help me with the origins of a quote
I read in the New York Times - it's about a 
musicologist at the University of Minnesota
who finds in the second movement of Beethoven's
Ninth Symphony only "the throttling murderous
rage of a rapist incapable of attaining release."

Who is this and where did she say that? It can't
be Susan McClary, can it? I have her book,
_Feminine Endings: Music, Gender, and Sexuality_,
in which she is nowhere near as harsh towards
Beethoven.

Thanks.
From: landsman@stars.gsfc.nasa.gov (Wayne Landsman (301)-286-3625)
Newsgroups: rec.music.classical
Subject: Vierne plays Bach (1929)
Date: 29 Jul 92 05:36:00 GMT
Organization: NASA/GSFC-Laboratory for Astronomy and Solar Physics
News-Software: VAX/VMS VNEWS 1.4-b1


     Last weekend, on the program "Pipe Dreams" I heard an astonishing
recording of Bach's Fantasia in G minor as played by Louis Vierne in
1929.   Although the sound quality was of 1929 vintage, I have never heard
music more powerful and exciting than these 5 minutes of organ music.
The radio host, Michael Barone, appropiately introduced the piece by asking,
"Let me know if you think that you are hearing Bach himself at the keyboard."

Does anyone know if this Vierne recording is commercially available?
Are there other recordings of Vierne that would be worth having?
I am somewhat familiar with a couple of the Vierne organ symphonies, but 
I have never heard any mention of his reputation as an organist -- is he
considered one of the great organists?

Thanks for any info -

----

Wayne Landsman                     |    "Prizes are the badges of mediocrity"
landsman@stars.gsfc.nasa.gov       |                         Charles E. Ives
From: jmann@vineland.pubs.stratus.com (Jim Mann)
Newsgroups: rec.music.classical
Subject: Re: Good version of 'The planets' by Holst?
Date: 22 Jul 92 17:53:51 GMT
Reply-To: jmann@vineland.pubs.stratus.com

In article <1992Jul22.153751.9408@msuinfo.cl.msu.edu>  
fernande@cps.msu.edu.cps.msu.edu (Jose Roberto Fernandez) writes:
> In article <thurlow.711815143@convex.convex.com> thurlow@convex.com  
(Robert Thurlow) writes:
> >[stuff deleted]
> >The latest Penguin guide recommends others above it: Dutoit/Montreal  
(Decca)
> >and Hilary Davan Wetton/LPO (Collins) are well thought-of.
> 
> I've heard the two above and would recommend Dutoit's above Wetton's 
> because the latter lacks the organ.

The Dutoit version is very nice, though my favorite is still the
William Steinberg/Boston Symphony version (though it does not have
an organ).

--
Jim Mann       jmann@vineland.pubs.stratus.com  Stratus Computer
Newsgroups: rec.music.classical
From: ohl@ips105.desy.de (Thorsten Ohl)
Subject: Re: Wagner's Ring: Solti still unrivalled?
Organization: Deutsches Elektronen-Synchrotron, Hamburg, Germany.
Distribution: rec
Date: Tue, 28 Jul 1992 21:44:38 GMT

>>>>> On Tue, 28 Jul 1992 18:01:29 GMT, conrad@brahms.udel.edu (Jon Conrad) said:
Jon> In article <6208@kielouta.fi> f1toyl@uta.fi (Topi Ylinen) writes:

Topi> I have heard Pierre Boulez' Die Walk~re which was quite ok, but
Topi> not so outstanding that it should deserve mentioning separately.

Jon> Altmeyer and Hofmann are the best parts of this, as the Walsung
Jon> twins (and Salminen as Hunding).  Gwyneth Jones is a fright.

I have mixed feelings about Gwyneth Jones' performance in the
Boulez/Chereau Ring.  Certainly Siegfried and the Goetterdaemmerung's
finale are ``a fright'', but the rest is very interesting.  Sure, she
doesn't sing beautifully, but some parts (`Todverkuendigung',
Walkuere, 2. act) made a strong impression on me.  And without doubt
(at least for me), Boulez' conducting more than makes up for some
problematic vocal performances.

/* Asbestos suit on :-) */
Anybody who has SEEN the Boulez/Chereau Ring (unfortunately I've only
seen it on TV), will anyway have a strong bias in favor of it!
/* Asbestos suit off :-) */

Unfortunately, Caterina Ligendza has never been recorded as
Bruennhilde.  I've heard her in Frankfurt, just before the sudden end
of her career.  With Micheal Gielen conducting and William Cochran as
Siegfried, it was a wonderfully SUNG (!= shouted) performance.

Jon> Note that a new recorded RING is about to commence.  For
Jon> Decca/London, with Dohnanyi conducting the Cleveland Orchestra
Jon> [ ... ] The only casting I've heard announced is Robert Hale as
Jon> Wotan; [ ... ]  Who could possibly sing the other roles????
Jon> (Shall we have a casting game?)

I think (!) that Gabriele Schnaut will sing the Bruennhilde.  She was
the Ortrud in the most recent Tannhaeuser at Bayreuth.  She got rave
critics for that and they were justified (unfortunately I only heard
the radio broedcasts ...).  I once heard her as Isolde here in Hamburg
and that was also very good, though the performance suffered from a
weak Tristan and a _bad_ conductor.

Thorsten
--
////// Thorsten Ohl, DESY (-T-), Notkestr. 85, W-2000 Hamburg 52, F.R.G.
///////// net: ohl@crunch.ikp.physik.th-darmstadt.de, ohl@gnu.ai.mit.edu
//////////////////////// voice: +49-40-8998-3699,  fax: +49-40-8998-3282
Newsgroups: rec.music.classical
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: minimalism
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Distribution: na
Date: Tue, 28 Jul 1992 02:03:39 GMT

In article <Bs15Bn.15C@quake.sylmar.ca.us> 
brian@quake.sylmar.ca.us (Brian K. Yoder) writes:
>In article <1992Jul24.025510.6264@slc.com> 
marcs@slc.com (Marc San Soucie) writes:
>>I see no difference between the desire to listen to a Mozart symphony and 
>>the desire to listen to the rattling of pots and pans.

>Well, that's pretty direct isn't it?  Tell me, do you have a CD collection?
>Does it contain more than one disc?  
>If so, would you mind if I replaced it with
>one full of rattling pots and pans?  Why or why not?

The ultimate Brian Yoder posting, ladies and gentlemen.  

Marc says he doesn't distinguish between the desire to listen to this
and the desire to listen to that, and Brian misreads it, thinking that
Marc doesn't distincguish between the things being listened to!  The
*desires* may be of the same quality, while the objects of desire
differ.  Is there something I'm missing, here, folks? 

>This is simply absurd, and I don't even believe that you believe it.

It's absurd until you read it carefully.

Roger

Newsgroups: rec.music.classical
From: bamn@venus.ycc.yale.edu
Subject: Bach Cantatas recommendation
Organization: Yale Computer Center (YCC)
Date: 28 Jul 92 12:01:10 EDT

hi,
 i am looking to buy some of Bach's cantatas but there are so many 
that i have no idea which to buy. could someone please recommend some 
good ones and which recording is good?
thanks in advance
naren

e-mail: bamn@venus.ycc.yale.edu
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: minimalism
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 22 Jul 92 20:11:47 GMT

In article <1992Jul22.190952.12885@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:
>In article <1992Jul22.163015.5902@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:
>>In article <BrrFJG.EF@quake.sylmar.ca.us> 
>>brian@quake.sylmar.ca.us (Brian K. Yoder) writes:
>>
>>>but how can you justify having any desire to listen to it?  
>>
>>Huh?  Why do desires need to be justified? Do I need to justify my
>>desire for a chocolate chip cookie?  If I like one, I like one.
>>

Note, Roger's asking for a need to justify a desire to "listen" 
to music, not a desire to create or criticize it.  So ...

>	Music				Eating Cookies
>	-----				--------------
>	concerts			solitary

Can easily listen in privacy of my own living room.  (Mostly do, in
fact.)  Only need to justify if my roommate is home, and from his
viewpoint there's just no justification unless you can dance to it.
Yet, many psychologists consider closet cookie-eating anti-social behavior.

>	grants	& awards		pay your own way

Unaware of "listening" awards.  I suppose there are grants for
listening to music.  But, how many people actually get one????
(Then, they have to write all kinds of blather about it 
afterwards.)
When I listen to music, I usually pay my own way.  Although
I listen to radio and have attended free concerts.  (NOTE:
not having to pay = less need to justify.)
Also, I can safely say I've pinched more cookies than I've 
paid for.  [Sorry Mom 8(.]

>	grand theories			side panels on the box

Example "Grand Theory":  I like the way he makes that bassoon 
     sound like a bluebird.
After reading the side panel, how do you justify eating such crap???

>	has metaphysical implications	ontologically neutral

What metaphysical implications are derived from listening to 
    "Rockin' Robin" or "El Grillo" or "The Blue Danube"?
     Even if you experience one, is it necessary to enjoy
     listening to these pieces?
I bet a performance artist could ontologically deneutralize 
     the cookie eating experience.  

>	"anxiety of influence"		worry about getting fat

"anxiety of influence" - are you refering to backward masking???
I suppose it's true that a steady diet of cookies makes you fat, though.

>	best enjoyed in silence		goes with TV

Tough to listen to music *or* eat cookies in silence.  Note: if the
cookie is hard, crunching can make it hard to hear TV.

>	makes you famous		keep it to yourself

        ????????????????                Learned in kindergarten that
			                sharing cookies is good thing.

>	requires justification		does not require justification

       Rarely needs justification.      Often must justify to Physician,
                                        Dentist, Tailor, etc.


John D.
From: knudsen@hpl-opus.hpl.hp.com (Knud Knudsen)
Newsgroups: rec.music.classical
Subject: Re: Complete Set of LvB Piano Sonatas
Date: 24 Jul 92 18:18:43 GMT
Organization: HP Labs, High Speed Electronics Dept., Palo Alto, CA

I own Brendel's set on mid priced Philips, and I like them very much.
They turned me on to some of the lesser known sonatas.
                                                         Knud Knudsen
From: stiller@telematik.informatik.uni-karlsruhe.de
Newsgroups: rec.music.classical
Subject: Re: Massachusetts Operafest '92  Starts in Quincy
Date: 31 Jul 92 06:20:15 GMT
Organization: Institut fuer Telematik, Universitaet Karlsruhe
NNTP-Posting-Host: t8600.telematik.informatik.uni-karlsruhe.de

In article <199207272143.AA26857@tuna.wang.com>, IMAGING.CLUB@OFFICE.WANG.COM 
("Imaging Club") writes:
> QUINCY, MA--(July 27, 1992)--The Massachusetts Operafest '92
> swept into Quincy last night after achieving big successes
> at the Newton Summer-in-the-Park Series last Sunday and this
> past Saturday at the nearby Great Woods Institute.  Saturday's
> performance was led by sopranos Elisabeth Borg, Kim Griffing,
> and Penny Rubinfield who sang there at Great Woods with the
> Providence Chamber Orchestra.
> 

Could someone please tell me until what date the Mass Operafest '92 will last ?
Are there any performances still in mid of September ? If not, is there any
other special event in and around this area in mid of September ?

Thank's in advance. Best regards,
-Burkhard

********************************************************************************
Burkhard Stiller          Kaiserstrasse 12          Tel.: +49 / +721 / 608-3983
Universitaet Karlsruhe    D-W7500 Karlsruhe 1       FAX:  +49 / +721 / 606097
Institut fuer Telematik   E-Mail: STILLER@telematik.informatik.uni-karlsruhe.de
		                  STILLER@ira.uka.de
********************************************************************************
From: hipychik@ac.dal.ca (Bass Ackwards)
Newsgroups: rec.music.classical
Subject: Re: Cut Out Classical
Date: 30 Jul 92 21:53:38 -0300
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

In article <1992Jul29.214622.21448@CSD-NewsHost.Stanford.EDU>, spg@Xenon.Stanford.EDU (Stephen P. Guthrie) writes:
> What happens to cds that have been deleted from the catalogs? An employee
> of Tower Records told me that when cds are cut out, their unsold copies
> are returned to the distributor. So what happens to these remaining copies.
> In the book world, I know there are mail order companies that sell cut outs
> at low prices (especially hardbacks that are now available in softcover).
> Are there any outfits that do the same for cds? Does anyone get a catalog
> of cd cutouts for sale? There are quite a few discs that I'd like, but that
> have been deleted prematurely and are no longer in the stores, so any insider
> knowledge on this matter would be appreciated.

I worked for three years at a large classical music store here in Halifax, and
when titles were deleted from the catalogues (it was purely at the discretion
of the individual record companies) we would have to pull all the copies from
our stock, box 'em up and send 'em back. What happened to them then was again
up to the record companies. Usually we would get the product back in 3 to 6
months as "deletes" (cut outs as you call them-- appropriately named because
they usually have a little hole or nick cut out of them to identify them as
deletes) and would sell them as such, which meant savings of 50 to 80 percent
of normal retail list price (note that the companies sold the deletes to us
at substantially reduced cost than catelog material). 
    As such, there were no "catalogs" of deleted titles, and sometimes the
deletes we would get in for sale were from other parts of the world (we got
a lot of U.S. deletes). It was literally a real grab bag. But there were
some excellent values and recordings to be found, as titles that are deleted
are usually done so for financial reasons (i.e poor sales) rather than the
recording being a "dud". 
    My advice would be to check with your local record store and inquire as
to whether or not they sell deleted titles. If so, ask if they know when 
they are getting a shipment of deletes in (they may be reluctant to tell you,
but it never hurts to ask). Trust me, getting there early means you get to 
pick through the most selections (sometimes only one or two copies of a "good"
deleted title come in... we usually had no way of knowing what titles were
going to be included in a shipment of deletes), and once word gets around, they
go really fast.
    Shopping for deletes is a great way to fill "holes" in your collection, or
pick up out-of-the-way recordings you never would have paid full price for.

******************************************************************************
Darin Borgel
c/o HIPYCHIK@AC.DAL.CA
******************************************************************************

Newsgroups: rec.music.classical
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: Re: Need name of guitar composer/performer
Organization: Computer Science Department University of Rochester
Date: Wed, 29 Jul 1992 03:25:48 GMT

In article <CB.92Jul28161728@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>I heard something good by (I think) two guitarists.  One of them was
>also the composer of the pieces I heard.  First name is Sergio.  Second
>and third names, in phonetic form, are something like o-dair ah-sah.
>Any information on him would be appreciated.

The names are Sergio and Odair Asad (They're brothers or cousins, can't 
remember which).  They're very good at doing South American classical 
guitar music.  
  I don't the name of the piece you're thinking of, but as far as I know they
have very few albums out, so you proabably won't have to look that far.

Gavin Steyn
steyn@cs.rochester.edu
"There are times, Jeeves, when one wonders, 'Do pants really matter?'"
From: IMAGING.CLUB@OFFICE.WANG.COM ("Imaging Club")
Newsgroups: rec.music.classical
Subject: Re: PSO European Tour [here we go again]
Date: 29 Jul 92 16:40:38 GMT
Organization: Mail to News Gateway at Wang Labs

Information of this sort is very worthwhile and it would
seem that it might be crossposted to groups like
soc.culture.german, soc.culture.spain, and soc.culture.
italian.  I belong to the first group, and used to get
the second group.  I presume the information would be
very well received on the last group also.  It certainly
would be on soc.culture.german!

By the way, anyone going to Frankfurt should definitely
go to the Alte Oper where the PSO is going.  It's a terrific
place with good acoustics and steep seating upstairs for
good viewing!

Michael.Willett@OFFICE.Wang.com
Xref: sparky rec.music.classical:10186 rec.music.misc:20226
From: thurlow@convex.com (Robert Thurlow)
Newsgroups: rec.music.classical,rec.music.misc
Subject: Re: Need lyrics to song derived from Dvorak "From The New World"
Date: 22 Jul 92 18:03:32 GMT
Organization: Engineering, CONVEX Computer Corp., Richardson, Tx., USA
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

In <thurlow.711777755@convex.convex.com> thurlow@convex.com (Robert Thurlow) writes:

>I've heard, just once or twice, a song called "Going Home" that
>is written to the melody of the second movement of Dvorak's
>Symphony #9, "From The New World".

Two people have told me via e-mail that I have the dependancy backwards,
that Dvorak incorporated the existing song into "From The New World".
Shows you what I know :-)  If anyone has ideas about where to find
more information, I'm still all ears.

Rob T
--
Rob Thurlow, thurlow@convex.com
Heaven knows / No frontiers
And I've seen heaven in your eyes			- Jimmy McCarthy
Newsgroups: rec.music.classical
From: misha@humus.cs.huji.ac.il (Michael Pak)
Subject: VPO query
Organization: Hebrew University of Jerusalem, Israel
Date: 25 Jul 92 14:33:07

Hi.

   I am about to visit Vienna sometime in September, and, obviously, would
very much like to hear a VPO concert. I've heard, however, that they are 
currently on a world tour, celebrating their 150th anniversary, so the question
is: are they going to be in Vienna in September at all? In any case, does any
of you (particularly those who live in Vienna/Austria) know a way to contact
VPO's offices? A phone number(s) would be greatly appreciated...

Thank you very much in advance,
Misha.

******************************************
* Michael Pak                            *
* The System Group,                      *
* Department of Computer Science,        *
* Hebrew University of Jerusalem, Israel *
* E-Mail: misha@cs.huji.ac.il            *
******************************************

--
******************************************
* Michael Pak                            *
* The System Group,                      *
* Department of Computer Science,        *
* Hebrew University of Jerusalem, Israel *
* E-Mail: misha@cs.huji.ac.il            *
******************************************