HDTenEightyP/NetNews huggingface dataset:
From: rbrooks1@cc.swarthmore.edu (Rob Brooks)
Subject: Re: Mahler 1
Organization: Swarthmore College
Date: Thu, 1 Oct 1992 01:54:15 GMT

In article <QH7QBXJN@cc.swarthmore.edu>, enute1@cc.swarthmore.edu.cmccon1
(Daniel Gottlieb) writes:
> 
> 	I realize that this may open myself up to a deluge of replies, but I would
> like to hear about all the favorite recordings of Mahler 1 out there.  My
> personal favorite is the most recent Bernstein D.G. with the Concertgebow,
> but I've heard that the new Tenstett (spelling?) C.S.O. live recording on
> Angel/E.M.I. is just incredible.  Any advice?
> 
> 
Without a doubt my absolute favorite recording of this piece is Haitink's
latest version with the Berlin Phil.  While he doesn't take as heartfelt an
interpretation as some conductors the sense of power and majesty is
unbelievable (and the German brass is wonderful!).  He made two others with
Amsterdam in the 60's, both of which are also worth a listen.  I do agree
with your view of the Tennstedt, definitely an improvement on his earlier
LSO performance.  Also check out Horenstein (considered by many to be the
greatest Mahler conductor ever) and Solti/LSO.

Rob

Newsgroups: rec.music.classical
From: kimp@nuge101.its.rpi.edu (Phil Kim)
Subject: Re: Why switch to CD?
Reply-To: kimp@rpi.edu
Organization: Rensselaer Polytechnic Institute, Troy, NY.
Date: Tue, 6 Oct 1992 03:21:19 GMT

In article <8przvvd@rpi.edu>, kimp@nuge101.its.rpi.edu (Phil Kim) writes:
|> If you are reluctant because of the price of a CD player, then how about buying one from me?  I use laserdisc player as my CD player so I have no use for my CD player.  It's somewhat old Sony CPD-591 (I think), and I bought it about 1-2 years ago for $180|> .  It works perfectly and comes with a remote control.  I could sell it for....say $70 with free UPS Ground shipping and handling?

Sorry, forget the deal.
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Playability (was Re: Alkan trivia)
Date: 28 Sep 1992 15:46:12 +0800
Organization: The University of Westrn Australia
Distribution: world
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Satie's gymnopedies misused - how could I forget -
	 -Blood Sweat and Tears version (on same record as WSOP, I believe)
	
	- Gary Numan and the tubeway army. (Owing to the baffling harmonic
	  complexity  of the piece, they only play the first bist over and
	  over again. Now _that's_ a vexation)
From: Ted_Greene@mindlink.bc.ca (Ted Greene)
Newsgroups: rec.music.classical
Subject: Opera Search
Date: 2 Oct 92 03:07:53 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

I am doing some research re: Who's on first.

Could you eMail the following information about Opera Companies
in your area:

1. The name of the Artistic Director

2. The General Director (or Administrator)

3. Current address of the company.

Any comments  or listings about the present season you could
provide would also be greatly appreciated!


If anyone is interested I can post a summary to this group.

Please reply to:
Ted_Greene @mindlink.bc.ca

or

349@Mindlink.bc.ca
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Carmen Ballet
Date: 28 Sep 1992 16:03:45 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

This is arranged by Rodin Schedrin (Russian, 1932- )  from the Bizet music.
(A russian version of a french arrangement of Cuban tunes) It was available
on EMI ASD 2448, but this was a re-release of a Melodyia recording (#
unspecified). Olympia in UK might bring it out (they may have te rights
to it) otherwise, you'll just have to rely on a Melodyia re-issue.


Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: verdi in _Cape Fear_
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Mon, 5 Oct 1992 13:10:30 GMT

 In article <1992Oct5.115528.12668@timessqr.gc.cuny.edu>, rmb@cunyvms1.gc.cuny.edu (Robert Braham) writes:
>Just saw (3x) Scorcese _Cape Fear_: wonderful, provocative
>Elmer Bernstein score (at first kind of off-putting--campy(?),
>but that's another issue). 

Chas v'sholom, Bob!  It's not an original score but is rather
Bernstein's reworking of Bernard Herrmann!
Can't remember the Verdi excerpt of which you speak (though De Niro's
character is named "Cady").
Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
Newsgroups: rec.music.classical
From: guba@hq.demos.su (Olga Guba)
Subject: Male alto from Russia
Date: Thu, 1 Oct 1992 15:45:53 GMT
Organization: DEMOS Coop., Moscow, Russia
Keywords: alto


Recently Olimpia (UK) issued the CD of Erik Kurmangaliev - a man
with a very high and beautiful voice. He sings arias from operas
and cantatas by Glinka, Tchaikovsky, Rimsky-Korsakov, Gluck and
Handel. This CD is distributed by _Mezhdunarodnaya Kniga_, the
number is MK 417047.

In March I listened to the concert performance of _Orfeo ed Euridice_
by Gluck (version for alto) with Kurmangaliev as Orfeo (Moscow,
the Grand Hall of the Conservatory - March 1, the Tchaikovsky Hall
of the Philharmonic - March 8). It was true delight! According to the
legend, Orfeo had a unique, fabulous voice - and Kurmangaliev's voice
is just what is necessary for this role. (There are two arias from
_Orfeo_ on the CD I have mentioned).

His voice is true alto, but due to its great compass he can sing even
arias composed for soprano (as he does it in the performance of
_M.Butterfly_ by David Hwang, where he sings two arias from the
opera by Puccini).

Remember his name: the title of the CD is _Erik Kurmangaliev_,
but now he makes appearances as Erik Salim-Meruet, because his
real last name is difficult for pronunciation (he was born in
Kazakhstan).

As far as I know, he is to sing Orfeo in May 1993 in Paris.

--
Olga Guba               Moscow, demos           guba@hq.demos.su
Newsgroups: rec.music.classical
From: shoichi@rkna50.riken.go.jp (Shoichi Kubodera)
Subject: Re: Mahler's 8th Symphony
Organization: Institute of Physical & Chemical Research (RIKEN) Saitama,Japan
Date: Wed, 7 Oct 1992 00:34:52 GMT

In article <1992Oct6.163757.18512@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:

(much deleted)

>If you are looking for a perfect Mahler 8 you are doomed to
>disappointment. There are two Bernstein's: 1966 (LSO) and 1975 (VPO).
>The first is marred by an over-close recording, although it is my
>favourite performance of all; the latter - recorded live at the
>Salzburg Festival, was issued because he did not live to remake it in
>modern digital sound for DG. The recording is less-than-deluxe and the
>soloists are variable, and you can really hear Lenny leaping about at
>times. I really like it though.

I would rather take his 8th on DG. Bernstein must have been very frustrated
with the quality of the LSO and choir. ( I am talking about the 8th
performance and I am not expressing my general opinion about the LSO.)
I do not know if they had enough rehearsal before the recording, but the
orchestra and choir were not able to follow Bernstein's flamboyant passion.

>As to the others, I cannot imagine Ozawa's being other than really
>boring, although I haven't heard it. Shaw has had generally poor
>reviews and certainly has no track record in Mahler. Inbal is
>variable, I like his 1st and 3rd, but the 8th, not Mahler's strongest
>work, needs very special advocacy.

I like the sound quality of the Inbal's CD, but I think he makes a big
mistake in the grand finale before the "Alle Menschen..." tutti. He somehow
screwed up the flowing of the music. He makes a Luftpause (short pause) there.
The score does not require and more importantly the music does not require
the pause. 
 
Shoichi Kubodera
shoichi@rkna50.riken.go.jp


Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Giulini Bruckner (was: Re: Mahler 1 (Giulini these days)
Organization: Visual
Date: Mon, 5 Oct 92 19:01:51 GMT

>Giulini has recorded Bruckner 7th, 8th and 9th with Vienna Phil. (DG)
>I find all three very good, the 9th is absolutly terrific.

How right you are.  The best.

One thing you can say about Giulini (and Tennstedt, for that matter):
whatever unusual way they may approach a piece in terms of tempo,
phrasing, etc., when they hit the mark, they produce something truly
masterful.  I think both are at that stage in their lives that they
are recording only works they feel very strongly about -- no more
doing a symphonic cycle just for the sake of doing the cycle.

The Brahms Fourth with the VPO is another great performance, in my
opinion.  I read a rather negative review of it in one magazine. 
This review, although disapproving, was well-enough written that I was
able to extract key details about the performance, and hence determine
that this would be the Fourth for me.  I was not disappointed at all.

Rob

Newsgroups: rec.music.classical
From: pawel@tethys.ph.albany.edu
Newsgroups: rec.music.classical
Subject: Re: Beethoven's 32nd sonata
Date: 2 Oct 92 18:51:16 GMT
Reply-To: pawel@tethys.ph.albany.edu
Organization: SUNYA School of Public Health, Albany, NY

In article <music.717983852@batman>, music@moravian.edu (Steve Heller) writes:
>I think the point was more that the music [Beethoven's sonata]
>"sounded jazzy/rag-like"
[...]
>-- 
>*-------------------------------------------------------------------------*
>#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
># Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
>*-------------------------------------------------------------------------*

  If we want to be accurate and keep chronology in mind we should
rather say that certain ragtimes sound like Beethoven's sonata
(with all restrictions in mind) and not vice versa.  It is likely
that Scott Joplin heard Beethoven's music, but highly unlikely that
Beethoven heard any Joplin's ragtimes during his life :-).

  I doubt whether Beethoven heard any African music ....

                                            Pawel Penczek
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.classical
Subject: Re: Self-publishing
Date: 7 Oct 1992 00:19:06 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

Are there any central list of composers who are self publishers that tells
how to contact them to order lists and copies of their works?

--James Langdell         jamesc@eng.sun.com
  Sun Microsystems       Mountain View, Calif.
Organization: University of Maryland at Baltimore
Date: Tuesday, 6 Oct 1992 08:32:15 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject: Re: Grad Program for Music and Computer Science?

There is a Masters in Computer Music at Peabody Conservatory which
has the possibility of a research track.  It may be some research could
carry over into a Ph.D. in CS.  The person to write is Geoffrey Wright,
Director, Computer Music Studios, Peabody Conservatory of Music, 1 East
Mt. Vernon Place, Baltimore, MD 21202.  Geoff is on sabbatical this
year so his reply  will be somewhat delayed.  A brochure describing the
program is available from the Admissions Office 410/659-8110.

Hope this helps.

Bob
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Misuse (was Re: Playability (was Re: Alkan trivia))
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 29 Sep 1992 18:35:58 GMT

In article <music.717778877@batman> music@moravian.edu (Steve Heller) writes:
>In <1992Sep29.020519.13700@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>
>>In article <1a6d84INN4ih@uniwa.uwa.edu.au>, diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>>|> Satie's gymnopedies misused - how could I forget -
>>|> 	 -Blood Sweat and Tears version (on same record as WSOP, I believe)
>>|> 	
>>Misuse? You think so? I always thought the guitar and flute was a rather
>>nice rendition. Oh well.
>I agree, and also am glad BS&T did this as it helped me become
>familiar with Satie in general, as I'm sure it did with a lot of
>people, especially at the time the album came out (c.1970?).
>
>>However, a REALLY nauseating misuse is some MUZAK station in either N.Y.
>>or Boston, which has a transmogrification of a fragment of Debussy's "Girl 
>>with the Flaxen Hair" played on an electronically processed harp. Yikes! 
>
>Yes, I've heard this one, and also a deranged MUZAK version of
>Albinoni's Adagio, Pachabel's Canon and numerous other beautiful
>classics. Why is it that some people just HAVE to butcher and
>trivialize fine art in the name of "popularism"?

(Invisible Hand Explanation Switch on)

To shock us back into original seriousness.  Of course they don't
*know* this is why they're doing this.

(Gnomic Utterance Mode off)
 
>-- 
>*-------------------------------------------------------------------------*
>#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
># Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
>*-------------------------------------------------------------------------*
Newsgroups: rec.music.classical
Subject: Falstaff Returns to the Met
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Saturday, 26 Sep 1992 10:17:32 EDT
Organization: City University of New York/ University Computer Center

The Met's revival of Falstaff last night was a delight. James Levine conducted
a generally relaxed and warm performance, wonderfully free of the harsh and
driven qualities of his last Met reading of the score. Marilyn Horne's Dame
Quickley is a marvel. Her rythmic precision, clarity of diction, and superior
musicianship establish a standard difficult to equal. Her characterization was
broad and cartoon-like, lacking the warmth and wit of Regina Resnik -- but Res-
nik no longer performs the part. The years have taken more of a toll on Mirella
Freni, whose voice now frays under pressure. She still creates some lovely
sounds, but her voice has grown sluggish and she had difficulty staying with
the other women in the ensembles. (BTW, only Horne managed the trill at the end
of the first act.) Barbara Bonney is the Met's best Nanetta since Judith Raskin
Her voice is quicksilver and her performance was warm, loving, and youthfully
radiant. Similarly, Susan Graham was the first Meg since Rosalind Elias to make
anything of the part.

Among the men, Paul Plishka has not yet developed a clear characterization of
Falstaff. He sang the part well enogh (if you like a basso in the part. I much
prefer a baritone.) and he moved wonderfully. He, too, tended to draw Falstaff
in broad strokes, creating more of a cartoon figure than a richly drawn Shakes-
pearean character. Nevertheless, in the final three scenes he showed the pro-
mise of developing into a major Falstaff. Bruno Pola's Ford was intelligently
and musically performed. These qualities overcame a mediocre voice and uneven
vocal production. Frank Lopardo's Fenton was attractive, interesting, and ar-
dent. His voice did not free up until well into the second act and has grown
considerably darker than it has sounded in the past. Indeed, he now seems to be
moving in the direction of becoming a spinto tenor with a distinctly baritonal
timbre and some squillo in the top. (This is good news and bad news. He was won
derful in Mozart and Rossini. Lord knows, we sure can use some good Verdi
tenors.)_

The smaller parts were wonderfully performed and the production has been care-
fully restored, sparing us much of the vulgarity that had crept into recent re-
vivals. Only Gil Wechsler's lighting remains coarse and garish.

The next few performances will be videotaped for telecast.
Newsgroups: rec.music.classical
From: alan@highlite.uucp (Alan McConnell)
Subject: Re: BEST Mendelssohn flat E major Octet ?
Organization: Gotham Communications Research
Date: Sat, 3 Oct 1992 14:19:18 GMT

roger@crux.Princeton.EDU (Roger Lustig) writes:

>In article <1992Oct1.140430.27590@debbie.cc.nctu.edu.tw> cp78047@csie.nctu.edu.tw () writes:
>>Please tell me what is the BEst Buy CD for The Masterpiece:
>>Mendelssohn : STring Octet in E flat Major.?

>The old I Musici wasn't bad at all.  I haven't heard many new ones.

>Has anyone recorded the unrevised version (i.e., after the autograph)?

>Roger
     Good heavens!     How does the autograph differ from the Peters parts?
     Alan McConnell
-- 
Alan McConnell             "What wondrous life is this I lead!
Pixel Analysis              Ripe apples drop about my head . ."
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Szell Tchaikovsky 4 (was Re: London Philharmonic Orchestra)
Date: 3 Oct 92 02:53:11 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

In article 550@spang.Camosun.BC.CA, dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:

> The LSO (and I know yo didn't ask this) still does this - or did 30
> years ago, when George Szell recorded Tchaikovsky 4 with them. He was
> furious to find that 50% of the orchestra at the recording session
> were different people from his concert performance a few days earlier.
> To make matters worse, after the first take John Culshaw, the
> producer, *deliberately* played it back to Szell at a low volume in
> order to make it sound weak. This - as Culshaw intended - turned
> Szell's fury into a total rage, he went straght back into the studio
> and unleashed one of the most amazing torrents of sound you'll ever
> hear. It's available on a mid-price London CD.
> 
> Sorry I strayed from your topic a bit, but that's one of my favourite
> stories. 

To be completely accurate, you should also note that because of his unhappiness
with the string playing, Szell refused to let this recording be issued in his
lifetime, it only appeared after he died in 1970. I wonder how much of his
unhappiness was just spite, because the strings sound just fine to me.

					Tony Movshon

Internet:  movshon@nyu.edu

US Mail:   Howard Hughes Medical Institute
	   Center for Neural Science
	   New York University
	   4 Washington Place, room 809
	   New York, NY 10003
Newsgroups: rec.music.classical
From: art30248@nusunix1.nus.sg (NG LING LING)
Subject: Re: music scores cost a fortune!!!
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Fri, 2 Oct 1992 02:37:59 GMT

A pal of mine studied music in Moscow once and told me that Soviet (RIP)
scores were (by Western standards) dirt cheap.

My anthropology prof also said that when he was in Tashkent, he bought
back a ton of scores again on the cheap. However, both of them said that
you'd need to be roughly aware of what certain composers names look like
in Cyrillic, cos bookshop keepers don't know much English.

For instance, Shos's 15th symphony cost about US$3.

Wonder if we can get some bookshop's name and get them to send such
stuff to us today. Heard they need the business.


Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: melody in Rachmaninoff's 2nd Symphony
Organization: Visual
Date: Mon, 5 Oct 92 18:39:14 GMT

>>The third movement of Rachmaninoff's Symphony #2 begins with a
>>melody that I know has been used by some pop/country tune.  I
>>think the name of the tune is "I'm Never Gonna Fall In Love
>>Again" or some such.  It may be from the mid-70's or so; I don't
>>think it is any older than that, but it may be newer.
 
>  The title of the song is "All By Myself".  I don't know
>who wrote/sang it, though.  Eric something...?

Eric Carmen.  But the song that Rich Wells is asking about is
not "All By Myself," but "Never Gonna Fall in Love Again."  (Also
by Eric Carmen.)  Carmen had hits with both songs, but in the 
latter he not only borrowed the opening theme from the third 
movement, but lifted part of the clarinet (oboe?) solo in the middle.

Was this a fad at the time?  Manilow ripped off Chopin for
one of his treacley tunes, and Emerson Lake and Palmer plundered
the classics liberally as well.  

Rob




Newsgroups: rec.music.classical,rec.music.misc,rec.music.makers
From: art30248@nusunix1.nus.sg (NG LING LING)
Subject: Re: INformation on VIOLA..
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 5 Oct 1992 06:45:10 GMT

Stephen M. Jones (6o25@sdf.lonestar.org) wrote:
: 
: could someone please email me on the technical aspects of the viola?
: (tuning, finger placement.. how to hold.. maintence.. heh) thank
: you!
: -- 
: Stephen Jones - SysAdm/SDF - 6o25@sdf.lonestar.org

Basically (awaiting flames for this) you hold it exactly like a violin.
The whole instrument is proportionately bigger, so the fingerings are
spaced out further. Thus, the fourth finger is a lot further away. Also,
because of the size, tone is harder to achieve (a good one, that is).
The bow is heavier, and a very different touch required to play on it.

Lastly, the weight of the instrument is a problem. It's heavy and
shifting can be cumbersome. So, when you need to do the fingering on a
piece, reduce the number of shifts so that the jumps are not so
cumbersome. Of course, practice makes perfect and one just
 needs to get used to it.

You thinking of playing viola ? I have, for about 10 years now... as I
was a violin reject. However, I have never looked back (except gripe
about the lack of repertoire). Most pieces are very modern and
difficult, OR transcriptions.

adios.
From: 00hfstahlke@bsu-ucs.uucp
Newsgroups: rec.music.classical
Subject: Re: modern liturgical music
Date: 2 Oct 92 12:56:55 GMT

In article <1992Oct1.184535.4914@TorreyPinesCA.ncr.com>, lms@TorreyPinesCA.ncr.com (Max Stern 310-524-6152) writes:
> 
> Seriously, I agree that this particular composition [Bernstein's Chichester
> Psalms (HS)] could be
> categorized as Jewish Liturgical, as Anglican Liturgical, or as
> non-liturgical, depending on your taxonomic bias.

I'm surprised that no one, including me, has mentioned Bernstein's 3rd symphony
(Kaddish) or his Mass, both rich modern interpretations of traditional
liturgical texts, or the Britten War Requiem.

Herb Stahlke
Newsgroups: rec.music.classical
From: wells@cdsmn.mn.org (Rich Wells)
Subject: Re: melody in Rachmaninoff's 2nd Symphony
Organization: Dicomed, Inc
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 5 Oct 1992 14:31:41 GMT

Bob Ashley (ashley@oasis.gtefsd.com) wrote:
: In article 6073@morrow.stanford.edu, AH.PBL@forsythe.stanford.edu (Mark) writes:
: >In article <BvGnLI.MrK@cdsmn.mn.org>,
: >wells@cdsmn.mn.org (Rich Wells) writes:
: >>The third movement of Rachmaninoff's Symphony #2 begins with a
: >>melody that I know has been used by some pop/country tune.
: >>
: >  The title of the song is "All By Myself".  I don't know
: >who wrote/sang it, though.  Eric something...?
: >
: >  "All by myself, I don't wanna be...all by myself...
: >blah, blah, blah..."
: 
: I believe it was Eric Carmen ... 
: Bob Ashley                        Internet:  Bob.Ashley@oasis.gtefsd.com

I realize I should let this thread die the quick death it deserves,
but the Rachmaninoff melody is not "All By Myself".  They are very
similar, but not quite the same.  If I had a musical intrument at
work with me I could work out the notation for the two to demonstrate,
but I don't, so I can't.

I received a reply through e-mail that it was "If I Should Fall In Love",
by (cough, cough) Barry Manilow.  While I could easily believe that
B.M. was the composer - especially since he has a classical background -
I don't think the name of the song is correct.  I'll give the collective
wisdom of the net one more shot: anyone know for sure?
-- 

Richard Wells  wells@cdsmn.mn.org  or  ...!tcnet!cdsmn!wells