HDTenEightyP/NetNews huggingface dataset:
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Trouble with Syracuse Symphony
Date: 26 Jan 93 10:35:59 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <20017@mindlink.bc.ca> a4369@mindlink.bc.ca (Mike Quigley#2) writes:
>In the local paper the other day, there was a brief article about the
>Syracuse Symphony, how they had just appointed a guy named Fabio Mechetti as
>music director, replacing Kazuyoshi Akiyama. It went on to say that
>"Akiyama's salary, reported to be $140,000 US a season, was criticized last
>year when the 31-year-old orchestra was forced to suspend its performances
>for seven months after running out of cash and falling $1.2 million in debt."
>
>Does anyone have any more details about this?

My 1990 copy of the Musical America Directory lists the Syracuse
Symphony's budgets as "A" and "a" which means an annual general
budget of over $3.6 million (didn't say how much over) and a guest
artist/guest conductor budget of $300,000 to $1,000,000 annually.

My guess is that Akiyama's salary is a scapegoat.
First of all, compare that figure with the salary of players for
many orchestras in the same budget class -- an openingin the
bassoon section of the Detroit Symphony (3rd, last year I beleive)
was offering over $60,000 per year in an ad in the International
Musician (Union national newsletter).

Second, it's not the conductor who manages the pursestrings
anyway.  If there's a shortfall of $1.2million, you need to ask
questions about management and marketing.  I would suspect that
if one looks into the programming of the Syracuse Symphony over
the past few years, one might get a clearer picture of why Akiyama
was dumped (maybe not), or if one looks at the general economy of
Syracuse.  To have such a shortfall, either someone spent a lot of
money recklessly (management) or there was a tremendous shortfall
in ticket sales (which could be blamed on music director or
marketing or the economy).

Noting that there are 81 salaried musicians in the Syracuse
Symphony, one might look at the current rash of "cut players
salaries" that's going around managements these days, and if you
cut the salary of the conductor (or get rid of a conductor who is
supportive of player's salaries) and replace him with a lower-paid
individual who does not venture support of player's salaries, then
you have a better dig at cutting those salaries.

Syracuse Symphony is also listed as playing 325 concerts per
season -- nearly one per day on average.  First, those can't all
be subscription concerts :-) so I'd bet that most of those are
run-outs and school concerts (several a day in the latter case).
Obviously, there's a 52-week contract involved with that number of
services played.  $141,000 is hardly over-payment for a music
director under those circumstances.  (The S. Symphony also lists
both their executive director and artistic administrator.  Any
idea what they make per year?)

Cheers,


--Mark Gresham
dscatl!mgresham@gatech.edu
=====
From: hal@radio.wkar.msu.edu (Hal Prentice)
Newsgroups: rec.music.classical
Subject: Re: BBC Music Mag w/CD
Date: 26 Jan 93 17:03:55 GMT
Organization: Broadcasting Services, Michigan State University
NNTP-Posting-Host: prentice.wkar.msu.edu

Following up on a previous query re: BBC Music Magazine...there is a 
special, introductory offer.  You can obtain a free copy +CD (you pay S&H) 
and then receive monthly issues for $2.98 +S&H (you can also designate 
whether or not you would like to receive a cassette instead.)  You can 
continue to receive the mag +CD at that price as long as you are active in 
the member program.  There is no obligation and you can cancel at any time.

The address to write to is:
	BBC Classical Music Service
	Box 61099
	Tampa, FL 33661-1099

Or call: 1-800-257-1100, Dept KBV
 
----------------------------------------------------------------------
Hal Prentice, FM Program Manager      Michigan State University
WKAR-FM, 283 Communication Arts Bldg  East Lansing, MI 48824-1212 USA
Internet: hal@radio.wkar.msu.edu      Bitnet: hal@radio.wkar.bitnet
----------------------------------------------------------------------
Newsgroups: rec.music.classical,rec.music.classical.guitar
From: jim@fuji.eng.yale.edu (James J. Szinger)
Subject: Re: When is A-440?
Organization: Yale University, Intelligent Sensors Lab, Elect. Eng.
Date: 25 Jan 93 22:23:56

In article <93022.220114IO21145@MAINE.MAINE.EDU>
<IO21145@MAINE.MAINE.EDU> writes:

>I've just entered the world of period instruments with a 18 th
>century guitar (reproduction of course). I was just interested
>to find out when "our" standard of A-440 came into use.

According to the CRC Handbook of Chemistry and Physics, 59th Ed,
A440 was adopted by the American Standards Association in 1936
and A435 was adopted as an international standard in 1891.  I'm
sure that as with all standards, both were in use well before
they were formally codified.

Caio,

Jim
--
James Szinger                        jim@fuji.eng.yale.edu

"He was born with a gift of laughter and a sense that the world was mad."
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Define "Well Tempered"
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Thu, 28 Jan 1993 04:08:36 GMT

In article <EfNl4Fq00iUzA7cVRL@andrew.cmu.edu> Ned S. VanderVen writes:
>Smaller diameter strings reduce the inharmonicity, lower tension increases
>it, but the reduced diameter dominates for harpsichords and other
>instruments.

It seems that the plucking of the strings on a harpsichord would damp the
higher partials more strongly than on a piano where a stationary string is
struck by a hammer.

T. M. McComb

Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: From the New World
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Wed, 20 Jan 1993 01:04:04 GMT

terjer@ifi.unit.no (Terje Rydland) writes:
: 
: > I'm looking for a good recording (CD, please) of Dvorak's Ninth...
: > any suggestions?
: 
: I listened to Vaclav Talich's recording on Supraphon yesterday, and it is
: just marvellous. The recording was made in 1949 (or 1950), but the sound is
: quite good (from 78 masters).

Actually 1949 *and* 1950 (third movement). Coupled with the Serenade
for Strings. marvellous.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: ronthal-adam@yale.edu (Adam Ronthal)
Newsgroups: rec.music.classical
Subject: Re: Anyone heard of Gliere?
Date: 23 Jan 1993 20:18:34 -0500
Organization: Yale University Science & Engineering UNIX(tm), New Haven, CT 06520-2158
Distribution: world
NNTP-Posting-Host: minerva.cis.yale.edu

In article <1jqodeINNfqi@shelley.u.washington.edu> kint@rio.engr.washington.edu (Rick Kint) writes:

>	Nothing personal, but the Seattle Symphony just did it and I thought
>it was the most banal thing I'd ever heard, even beating out David Diamond's
>2nd Violin Concerto.  I mean, I looked up "insipid" in the dictionary and they
>had the second theme from the first movement, in music notation.  Maybe it was
>the performance?  It certainly gave the soloist (John Cerminano [or something 
>close]) a workout, especially in the cadenza.  To be fair, the way the brass
>chorale faded into the strings in the last movement was cool.

[Stuff deleted]
>-- 
>Rick Kint				UNIX Geek, College of Engineering
>kint@engr.washington.edu		University of Washington, Seattle

Admittedly, it's not a 'traditional' horn concerto.  The first time I heard 
it I thought it sounded like bad film music from the 1940s. But, you see, 
I listened to it not just once, but many times and have come to appreciate
not only the technical difficulties involved in playing it, but the beauty
Gliere's treatment of the horn as a solo instrument.  Yes, it's an unusual
horn concerto, yes, you hear passages written for horn in it that sound
odd at first for such an instrument.  But overall, I think it is a beautiful
and challenging piece. 

Adam

-- 
   /|\  /|~\   Adam M. Ronthal BR'94    |    ronthal-adam@yale.edu	
  /-| \/ |_/   P.O. Box 607 Yale Stn.   |    ronthal@minerva.cis.yale.edu
 /  |    | \   New Haven, CT   06520    |    ronthal@pop.cis.yale.edu

Newsgroups: rec.music.classical
From: will@ogre.cica.indiana.edu (William Sadler)
Subject: Re: P.D.Q. Bach (Was Re: Vocal contributions from the orchestra (Was Re: ..... Bolero))
Organization: Indiana University
Date: Thu, 21 Jan 1993 18:55:38 GMT

In <CB.93Jan20154722@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

>Dale Gold writes:

>   [Schickele has] written a lot of 'normal' music, but with the
>   exception of a few film scores, I don't think he's had much luck.  I
>   can't say I was very impressed by the non-PDQ things I've heard & played.

He did the soundtrack to Silent Running and the music for Oh! Calcutta!  Both
have done fairly well I think.

>Back when Joshua Rifkin was orchestrating for Judy Collins, Joan Baez figured
>she'd get her own cross-over classical-type musician and hired Schickele.
>Rifkin did a great job, Schickele did a poor job.

I have heard several people express this opinion, but I have never been
able to find the album.  Is it still available?

Will
--
***************************************************************************
*   _______________\|/_      Will Sadler     will@cica.indiana.edu        * 
*   Laser 44888    /|\                       sadler@iubacs.bitnet         *     
***************************************************************************
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Symphonic form and style
Date: 26 Jan 1993 11:52:46 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

I presume you mean living composers:

I would heartily recommend Robert Simpson for anyone who liked Bruckner
and Mahler. (On Hyperion)

Dvorak-likers could try George LLoyd. (On Conifer)

Lovers of Sibelius  and Nielsen could listen to Kokkonen and Sallinen
(on Bis and Finlandia)

Scriabin-o-philes might like Rautavaara. (on BIS and ? Finlandia)

Those who like Khatchaturian and Borodin could try the perennialy unpopular-
with-critics-and-academics Hovahness. (On Crystal, Mercury, RCA)

Some say the mantle of Shostakovich fell on Schnittke's shoulder (on
Bis). Others strongly agree. 

I hope this helps. (My symphonies are, alas, unrecorded)
From: 00hfstahlke@leo.bsuvc.bsu.edu
Newsgroups: rec.music.classical
Subject: Roy Harris' American Ballads for Piano
Date: 27 Jan 93 17:20:39 GMT
Organization: Ball State University, Muncie, In - Univ. Computing Svc's

I've been studying Roy Harris' American Ballads for Piano recently--some
wonderful piano writing.  They are very much a study in sonority, for example,
making interesting use of pedal work to emphasize certain notes over others in
a chord.

Is there anything written about them or about what Harris was up to back in the
late '40s when he wrote them?

Herb Stahlke
Ball State University
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.classical
Subject: Re: Boosey sues Disney
Date: 26 Jan 93 20:51:15 GMT
Organization: Educational Computing Network
NNTP-Posting-Host: uxa.ecn.bgu.edu

I thought that there were complications because Stravinsky was from
Russia, and it was after the 1917 revolution, that Stravinsky didn't own
the copyright for any of his big three.

Jeff
From: bweiner@ruhets.rutgers.edu (Benjamin Weiner)
Newsgroups: rec.music.classical
Subject: Re: P.D.Q. Bach
Date: 21 Jan 93 21:47:06 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

dgold@basso.actrix.gen.nz (Dale Gold) writes:

>Last time I talked to Schickele (about 15 years ago) that's exactly
>what he wanted to do.  But I guess he's been typecast and nobody will ...

A few years ago there was a weekend of (PDQ's) "works" at my alma mater
(which is also Schickele's alma mater) billed as a "farewell" ... he was
going to give it up for "straight" composing.  I think he has relapsed,
probably because the PDQ stuff pays and composing doesn't.

-Ben

P.S.  Schickele was the first ever music major at that school ... if 
nothing else he deserves credit for convincing the dour Quakers to let
him major in a "performing art" (gasp! the next thing you know, they'll
be _dancing_)
Newsgroups: rec.music.classical
From: hcresnic@quads.uchicago.edu (hugh carney resnick)
Subject: "Sunday Morning"
Reply-To: hcresnic@midway.uchicago.edu
Organization: University of Chicago
Date: Thu, 21 Jan 1993 20:13:07 GMT

Yes, I know that this is probably a FAQ, but, anyway.

The trumpet voluntary that is the theme song for Sunday Morning with Charles
Kuralt on CBS is by A. Reicha, and I've been trying to secure a recording of
it for years. Can anyone email me the real title and Op. number, and the 
names of any decent recordings of it?


hugh
-- 
___________________________________________________________________________
Hugh C. Resnick  email: hcresnic@midway.uchicago.edu "As a truly appalling 
alternative to the dungeon, princes could condemn their rebellious subjects 
to the daily reading of opera librettos." - Niccolo Tommaseo.
From: jacob@max.cc.brandeis.edu ( )
Newsgroups: rec.music.classical
Subject: german notation for pitches [?]
Date: 27 Jan 93 08:34:19 GMT
Organization: Brandeis University Math Department

where do the german expressions for various notes
come from? (fis for f sharp, es for e flat and so on)
and when did it begin to be used?

actually, i've got an answer for the -is, i'm just curious
about the -es.

mattheson, in a letter he wrote jay jay fux, was telling
him that he recommended dropping solmization and simply
using pitch names. i'm curious whether this is the actual
system he had in mind (i haven't seen the actual text of
the letter) and if it is, was it the full system with -is
and -es or was it only the -is system?

jacob

note: (irrelevant to the above but maybe interesting)

if you care, here's where the -is comes from:
it is the latin genitive ending applied to pitch names.
fis means "of f", in the sense that f was somehow
subordinate to f. it was not a notation used generally
in the beginning but one typical of keyboard tablatures.
and actually what was written was not fis but f with a squiggle,
which was the medieval shorthand for the "is" ending.
also it was used both for the f sharp and its enharmonic,
g flat. incidentally it appears for the first time not in
a german manuscript but in an english keyboard tablature,
the robertsbridge codex. this notation was used for the longest
time only by keyboard players. all sorts of other notations
were used in german theoretical works, sometimes the usual
solmization names, sometimes a similar system called bocedization
(eg lippius was using that). the first theoretical writer i'm aware of
who (almost) used the modern system, was one crueger around the middle
of the 17th century. and even there, characteristically only the "is"
notation is used for both a note and its enharmonic. incidentally the
first time he uses it, crueger uses a phrase such as "or fis as
insrumentalists would say" (i've picked this up in a book
recommended by roger lustig that i've read over winter break;
i forget the author but i think the name was "from mode to key,
german theory 1600-1800" or something like that -- in there i've
been able to see that even works later than crueger's, such as
weckmeister's were not using it, or at least not in the excerpts
in the book)

in any case fall of this this seems to indicate (1) that around 1650
this notation was still considered to be more or less a keyboard player
notation and (2) that the "-es" names had not been invented yet.

if anyone can come up with something better, that would be great.
(i've checked the new grove, in the most obvious places -- "pitch
names", "notation", "tablatures", and this piece of information is
either not there or if it is in there, it is in such an obscure
place that it is basically irretrievable except by accident -- now
imagine "grep"ing the new grove? another reason to have it on
cdrom :-)
Newsgroups: rec.music.classical
From: royg@netcom.com (Roy H. Gordon)
Subject: Re: Novaes on CD?
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
X-Newsreader: TIN [version 1.1 PL8]
Date: Sat, 23 Jan 1993 22:39:00 GMT

> I have a box set (VOX vinyl) of Chopin piano pieces played sublimely by
> Guiomar (sp?) Novaes; I would very much like to buy them on compact disc
> since my records are getting quite scratchy. Does anyone out there know
> if these recordings have been released on CD? I am especially interested in
> Chopin's preludes. If not, what pianists convey a similar romantic
> feeling and warmth to these pieces, who are available on CD?

> Any opinions on her interpretations of Chopin?

The topic of Novaes CDs was on my mind too...

I grew up on her Vox recordings.  Her Chopin preludes stand above
any others for me.  I also really liked her waltzes.  They really were
dances for the soul in her hands.

The Vox recording quality was uniformly aweful, as I remember.  She
had a later mixed recital Chopin album on Vanguard, which is out on CD,
I believe.  I liked those performances also, although the preludes,
represent her peak to me.

I too am interested if any other of her recordings are available.
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: Re: Gerald Finzi--Clarinet Concerto
Date: 25 Jan 1993 12:15 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
Summary: Recommended Recordings--suggestions?
Keywords: Finzi clarinet
News-Software: VAX/VMS VNEWS 1.41    

In article <pking.727900000@cunews>, pking@alfred.carleton.ca (Peter King) writes...
>I'd appreciate suggestions as to the best CD recording at present
>available.
>The Hilton one seems highly recommended.

 A marvellous concerto - I have two recordings, by Thea King and Emma Johnson
(I forget which orchestras and conductors).
I haven't heard the Janet Hilton's version, so can't make direct comparison,
but either of these recordings is eminently recommendable. 
Both are coupled with Stanford's concerto - with the Johnson version also
including the 5 bagatelles by Finzi, and a clarinet/piano piece by 
Stanford. Of the two, I prefer King's version (mainly because I prefer her
tone quality) - and it's worth bearing in mind that the piece was written
for her husband - but it's only a slight preference. I don't think you
can go far wrong with any of those three recordings.

 By the way, in early December somebody was commenting on a perceived
scarcity of women solo musicians, and suggesting some genetic trait. 
Anybody choosing to push this viewpoint should bear in mind that four
of the current top clarinettists (Hilton, Johnson, King and Sabine Meyer) 
are women. 

 Neill Reid - inr@eccles.caltech.edu
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: 78's to cd's
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 22 Jan 1993 22:17:06 GMT

jfl@panix.com (Jeff Lipton) writes:
: In article <broughto.727546558@craft.camp.clarkson.edu> broughto@craft.camp.clarkson.edu (BRAD BROUGHTON) writes:
: >  From my father I inherited a flock of classical records
: >on 78rpm. M<any contain classical performances by some of
: >the now dead greatest artists: Schnabel, Flagstaff, Rubenstein, etc.
:                                           ^^^^^^^^^
: 	Ah yes - Kirten Flagstaff - known for her great Western
: 	interpretation of Isolde - toughest barmaid of the frontier...
: 	Love potion - whisky neat - 
: 	Liebestod - sinking into Tristan's arms as Sherrif Marke
: 		looks on bewildered...

That's KirSten Flagstaff. An obvious lead for La Fanciulla del West.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: benjamin@NEBULA.SSD.LMSC.LOCKHEED.COM
Subject: Jorge Bolet
Reply-To: benjamin@NEBULA.SSD.LMSC.LOCKHEED.COM
Organization: LMSC, Sunnyvale, California
Date: Thu, 28 Jan 93 18:09:08 GMT

Hi,

The January 1993 issue of Stereo Review has an essay by William Livingstone
about Jorge Bolet in which several recordings are suggested.  In Livingtone's
opinion, Bolet was the greatest "Romantic" pianist of recent years (above
even Arrau and Horowitz).I'm not familiar with any Bolet recordings, and was 
wondering if any Internet readers had any comments or suggestions of their own.
Thanks!

Brian
From: somak@head-cfa.harvard.edu (Somak Raychaudhury)
Newsgroups: rec.music.classical
Subject: Video/Film version of Wagner's ring
Date: 29 Jan 93 02:57:02 GMT
Organization: Smithsonian Astrophysical Observatory, Cambridge, MA,  USA



In article <Jan22.220104.45608@yuma.ACNS.ColoState.EDU>
hurben@lamar.ColoState.EDU (Mike Hurben) writes:

>   Well, I have been away for some time, and the last time I had a chance to
>take a quick peek at r.m.c., I swear I saw something about a FILM VERSION OF
>WAGNER'S RING !!!!??????  Is it true??  Can someone tell me about this????
>I have dreamed of such a thing for many years now...  


Channel 4 in Britain produced the entire Ring cycle on television..
they were telecast over four sundays sometime in 1990, in their "Opera
on 4" series.  They might be available on video, though I haven't
seen them anywhere.

The DG catalog lists the whole Ring cycle on 11 laserdiscs, 
conducted by James Levine, produced by the Metropolitan Opera.

The Philips catalog has the entire cycle on VHS video and on laserdisc.
These are Bayreuth Spielhaus productions. 

These would be recordings of live performances, 
so they aren't strictly "film" in the sense of Franco Zeferelli's "Otello", 
Ingmar Bergman's "Magic Flute" (best film version of any opera,
in my opinion), Carlos Saura's "Carmen" or whatshisname's "Don Giovanni".
From: lampson@software.pulse.com (Dave Lampson)
Newsgroups: rec.music.classical
Subject: Re: NEW GROUP PROPOSAL: rec.music.acappella
Date: 21 Jan 1993 14:54:10 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

In a recent message to rec.music.classical, Brian "Medford" Cimmet 
(bcimmet@eagle.wesleyan.edu) writes:
>	I am posting again with regards to my proposal for a new Newsgroup
>concentrating on a cappella music. 

Are you aware that there is a structured way to accomplish what you are doing,
and that you are apparently not following the procedure?  


> I'm going to be trying to get this officially set
>up sometime soon, and I will keep everyone posted on the updates.

To get a newsgroup officially set up in the rec.* hierarchy, you have to go
through a fairly lengthy official period called a RFD (Request for Discussion),
and then a period of official voting.  Only after the votes are counted, and a
majority of voters opt for the new group, will official control messages be
sent out to set up the new newsgroup.  Checkout the newsgroups news.groups,
news.announce and several others in the news.* hierarchy.  See how the process
is done.

My personal opinion is that you will not get such a group approved as arbitrary
fragmentation of the newsgroups is to be avoided, and historically the interested
parties (in rec.music.classical at least) have been very reluctant to a splitting
of the group.  In any case, it's all beside the point as a new group will not get 
created without going through the procedure.

The only exceptions to this procedure are newsgroups in the alt.* hierarchy.
Anyone can send out control messages for new groups in this hierrchy on a whim,
and thus chaos ensues.

Dave
lampson@pulse.com

rec-music-classical@cs.utexas.edu
Newsgroups: rec.music.classical