HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.indian.classical
Date: Fri,  2 Oct 1992 17:29:07 -0400 
From: Guntur N Balaji <gb29+@andrew.cmu.edu>
Subject: L.Shankar.....


Hi,

The exact ordering of the three brothers is as follows

L Vaidyanathan > L Subramaniam > L Shankar.

They were born in a musically oriented family.  Their father
Lakshminarayana was a gifted musician. (  Veena or violin
I dont remember. )  He died when both L Subramaniam and
L Shankar were young.  They were brought up by L Vaidyanathan.
L Vaidyanathan lives in Madras, ( somewhere in Abhiramapuram )
and still scores music for occasional TV serials etc.
L Subramaniam is a doctor and did his MBBS from Madras, ( I think
it is the Madras medical college. )  He is a purist and is more
classically oriented than L Shankar.  The western influence
is more felt in L Shankar than in L Vaidyanathan.

In the Mardigras celebration in IIT (M) two years ago, L Shankar
gave a pure carnatic concert with his ( of course ) double violin.
There was a rendition in the raga Lakshminarayana conceived
by L Shankar as a tribute to his father.  
One gossip :  Though L Vaidyanathan himself is a very gifted
violinist, his son got initiated and learnt the basics from another
stylist Parur R. Venkatraman of Mylapore.  He isnt widely
known but he happens to be a cousin of  THE M S Gopalakrishnan.
They follow the Parur style of music and Vaidyanathan felt
that the Parur style is one of the best styles for carnatic rendition.
( Anybody who hears MSG will vouch for it ! )  Vaidyanathan
is also well versed in Western Classical.  But L Subramaniam
and L Shankar I believe have authentic degrees in Western
Classical music from some univ. in California.  

L Shankar is not exactly admired by the purists down in South India
esp. Tamil Nadu because his touches are more flamboyant and 
fast.   He  is less oriented towards the Gamakas which are so
evident in a rendering by a classicist say MSG.  But nevertheless
none can deny that he is one of the best around.  

No flames if anybody finds some of the above facts not factual
enough.  But please clarify on the net....

G   N  Balaji/...
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Re: Speaking of leitmotifs
Date: 28 Sep 92 13:40:32 GMT
Organization: University of Delaware

In article <320@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:

>There is a sweeping, dramatic theme, if not leitmotif in Die Walkure which
>reappears during Brunnhilde's Immolation aria that's always struck me for some
>reason. 

Because it's designed to be unmistakeable?

This motif is called "Redemption by Love" in all the commentaries, which
may fit the final context but not the Walkeure one.  Wagner himself
annotated it as "Glorification of Bruennhilde," which despite the
authority of the composer himself doesn't do much for me either.

>But I can't see what is the connection, if there is any. 

You're not the only one.  Bernard Shaw (in The Perfect Wagnerite) simply
said there was none, and Wagner was hauling out the gushiest cheapest
phrase in the whole cycle, in order to give people a good cry at the
end.  But then he was an antiromantic.

The best explanation I've seen (I forget where I read it) is that it
carries the connotation of "Life will go on after me."  In Walkeure, it
expresses Sieglinde's joy at learning that she is carrying Siegmund's
child, and despite his death he is leaving a legacy for the future.  And
in Goetterdaemmerung, Bruennhilde is talking about idea that after the
present world has been wiped out, a new better one will follow it.  Shaw
might have called it the Life Force idea.

Possibly Wagner didn't consciously intend this connection, but it fits
very well.

Jon Alan Conard
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: Zander/Beethoven 9
Date: 4 Oct 92 19:25:35 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

> Rob Brooks writes:
>
> I recently read an interesting Gramophone review of the just-issued
> recording of Beethoven's 9th with Benjamin Zander conducting the Boston
> Philharmonic (a semi-professional Boston-based group, *not* the BSO).
>


The October issue of The Gramophone has a letter from a second reviewer who
disagrees very much with the original review of this recording.

Newsgroups: rec.music.classical
From: johnm@sun1x.actc.res.utc.com (John Montgomery)
Subject: Re: Otello recordings
Organization: United Technologies Research Center
Date: Thu, 24 Sep 1992 18:17:27 GMT

I recall there was an earlier Solti recording (late 70's?) with
Margaret Price as Desdemona, which may be of interest.  I don't
know if it's on CD yet.  Has anyone (Mr. Conrad?) heard this one?
I do have the Karajan/Del Monaco/Tebaldi and it is well worth a
listen.
-- 
John A. Montgomery      "Evans boldly put 50 atm. of ethylene in a cell
United Technologies      with 25 atm. of oxygen.  The apparatus subsequently
Research Center          blew up, but luckily not before he obtained the
                         spectra shown in Figure 8."
From: ccsdgdc@sunlab1.bath.ac.uk (Douglas Clark)
Newsgroups: rec.music.classical
Subject: Hamilton Harty
Date: 2 Oct 92 14:17:55 GMT
Organization: Bath University Computing Services, UK


Let me put in a good word for Hamilton Harty. I recently purchased a
Chandos CD of the Ulster Orchestra conducted by Bryden Thomson. Presumably
re-released to commemorate Bryden's recent death. It contains his violin
concerto, written before the Elgar, and his Variation on a Dublin Air.
I find both pieces of music very pleasing, particularly the second
movement of the Violin Concerto. I feel it a pity he did not compose
more. REcommended.
Newsgroups: rec.music.classical
From: dgottli1@cc.swarthmore.edu (Daniel Isaac Gottlieb)
Subject: Re: suggested pieces for cello & piano?
Reply-To: dgottli1@cc.swarthmore.edu
Organization: Swarthmore College
Distribution: usa
Date: Mon, 28 Sep 1992 04:52:38 GMT

rbrooks1@cc.swarthmore.edu (Rob Brooks) writes:
> In article <1992Sep23.180603.17035@fnbc.com>, wyatt@othello (Wyatt
> Sutherland) writes:
> 
> > Below are some of my cello favorites.
> > 
> > Bach Suites -> Starker (get the Mercury or Sefel label - 
> >                a London release will be out soon, wait if you can)
> >                Stay away from Ma's and Harrell's recordings of these
> >                suites.
> I am quite partial to Fournier's rich and glowing version of the suites.
> 
> > Brahms Sonatas (e minor ,F Major, D Major) -> Starker and Sebok, Iserlis
> Don't forget Ma and Ax.
As a matter of fact, forget Starker, listen to Rostropovich & Serkin 
> > Dvorak Cello Concerto -> Starker & Dorati, Rostropovich, Yo-Yo Ma
> Rose (my favorite), Fournier, and Du Pre's performances are also very much
> worth checking out.
Rostropovich & Giulini is tops
> 
> > Wow! A lot of Starker.  Hey, he's great and I enjoy his clean approach to  
> > music.  Intonation is dead on and there is not a lot of junk in the lines.   
> > I guess that's why they call him the "King of Cellists".
> >
> I never heard him called the "King of Cellists."  Guess I must have been
> listening in the wrong places.  Some of his performances (esp. Kodaly and
> Bartok) are absolutely electrifying but sometimes I think he pays too much
> attention to technique and the music aspect suffers.  Now if only
> Jacqueline Du Pre were still around.....
> 
> Rob     
Rob, get with it ... Starker plays like a god, but it's boring stuff.
For the best cello recording EVER, check out Feuermann's Haydn D from about
'35 or so -- also get Piatigorsky's pre-WWII Schumann concerto.  I always
say that you can't beat Casals - even if you don't agree, it has to be
listned to.  For Bach, I think Starker is too cold, but Ma and Harrel are
overly romantic. Any suggestions?  Fianlly, am I the only one who thinks
that DuPre is just slightly overrated?  I mean, I love her Elgar, but that's
really about it.  Ma probably has the most consistent playing that's
comercially available, but Rostropovich's old Beethoven sonata's are worth
checking out.  Finally, if anybody ever pays money to listen to Matt
Haimovitz, don't say that I didn't warn you.

Dan
Newsgroups: rec.music.classical
From: music@moravian.edu (Steve Heller)
Subject: Re: Mahler and all that Rott
Date: Thu, 1 Oct 92 10:22:09 EDT

In <1992Oct1.124628.15140@visual.com> rwh@visual.com (Rob Holzel) writes:

>Anyway, according to the liner notes on the Hyperion recording, when
>Rott went insane he was on a train and started raving about how Brahms
>was trying to kill him.  Then, when in the asylum, he used his own
>music manuscripts for toilet paper.  The symphony that we have is
>itself a reconstruction of sorts.  

Sounds like a pretty crappy edition...
(Sorry, I just couldn't resist...;^) ).
-- 
*-------------------------------------------------------------------------*
#   export meaning_of_life=$(eval 'grep -i truth mind_of_god | sort -u')  #
# Work: music@moravian.edu  <#!AMIGA!#>  Home: moravian.edu!vortex!lothar #
*-------------------------------------------------------------------------*
From: webber@ucbeh.san.uc.edu
Newsgroups: rec.music.classical
Subject: Re: Orchestras/conductors
Date: 1 Oct 92 20:42:55 EST
Distribution: world
Organization: Univ. of Cincinnati

In article <2ACB17A2.18306@news.service.uci.edu>, jdooley@maemaster.eng.uci.edu (John R. Dooley) writes:
> In article <1992Oct1.042835.13776@nuscc.nus.sg> art30248@nusunix1.nus.sg (NG LING LING) writes:
>>I wonder if any of you can help me. I'm doing a compilation of some of
>>the big name orchestras and hope to do a list of who's conducting who
>>(or who's the Musical Director).
>>
>>European Orchestras:
>>American Orchestras:
 
>>10.  Cinncinati          Kunzel
>             
> Not sure, but I thought Kunzel was only with the Pops Orchestra,
> not with the Cincinnati Symphony Orchestra.  (Ohhh ... to return
> to the Queen City!!!!)
> 
> John D.
> 
This is true.  The musical director of the Cincinnati Symphony Orchestra
(which is basically the same as the Pops) is Jesus Lopez Cobos.
 
Newsgroups: rec.music.classical
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Subject: Re: Karlheinz
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston
Date: Thu, 1 Oct 1992 14:32:37 GMT

In article <1992Sep30.152504.2376@lloyd.Camex.COM>, johnd@lloyd.Camex.COM (John Duesenberry) writes:
>What are the Stockhausen Edition CD's? Are any of the older works
>like Gruppen, Gesang, Kontakte,Kontr-Punkte... being resissued?

As I understand it, it will consist of KS's *complete* works (all those 
recorded/realizable at least). I presume they're mostly the old DG 
recordings, which Stockhausen has purchsed the rights to. They seem to 
be very hard to obtain in the States at the moment... They will also make
labels like Wergo seem like cheapies...

Start saving,
Bill
+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: Concert band recordings (was: Tokyo Kosei, etc., etc....)
Organization: The Ohio State University
Date: Sat, 26 Sep 1992 23:44:25 GMT

I recently picked up another recording of concert band music: _British Music
for Concert Band_, by The Central Band of the Royal Air Force, conducted by 
Wing Commander Eric Banks, MBE, FLCM, LRAM, ARCM, LGSM (!!!).  The band has 
that typical British sound, with cornets actually playing the cornet parts and 
a wonderful warm sound to the woodwinds.  The play with a high degree of 
virtuosity and feeling for the music.  The recording quality is excellent, from
a digital master, and recorded in 1984 and 1986.  Oh! Almost forgot.... it's on
EMI: CDC 7 49608 2.  All the warhorses got pulled out for this one:

Holst: First Suite in E Flat
       Second Suite in F

Vaughan Williams: English Folk Song Suite
       Sea Songs (March)

Grainger: Lincolnshire Posy
       Molly on the Shore
       Irish Tune from County Derry
       Children's March: Over the Hills and Far Away
       Country Gardens

There are a few less than congenial moments, however.  The euphonium soloist 
sounds as if he has a severe sinus infection which is draining into his 
instrument, and _Molly on the Shore_ is played at an almost grotesquely fast 
tempo (makes the basoonist sound like he's on a speed trip).  But it is good to
hear some of the British standards played by a typical, good British military 
band.  At least they play without that obnoxious tremolo that infests the 
performance of a lot of non-military British brass bands, such as the Black 
Dyke Mills Band & others.  Anyway, over all, I find this recording an 
excellently performed and recorded collection, and it is interesting to compare
the performance of these pieces with those by non-British bands.
-- 
=>   Michael J. Valinis   -=+{*}+=-   mvalinis@magnus.acs.ohio-state.edu   <=
+>=>          "People who make music together cannot be enemies          <=<+
=>+>=>       at least while the music lasts."   - Paul Hindemith       <=<+<=
+>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<+
Newsgroups: rec.music.classical
Subject: Re: Speaking of leitmotifs
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Saturday, 26 Sep 1992 21:40:00 EDT
Distribution: world
Organization: City University of New York/ University Computer Center

I haven't the Solti Ring on CD, but I think that you are referring to the
Redemption Through Love theme -- which I recently learned also had a second
name, something like Brunnhilde the ________. (Can someone fill in the blank?)
I still am in the Redemption mode for the evening.
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Mahler and all that Rott
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 28 Sep 1992 16:46:45 GMT

In article <90612@netnews.upenn.edu> jimmosk@eniac.seas.upenn.edu (Jim J Moskowitz) writes:
>I'm in a bad state of shock, folks.
>Last night I tuned in to a local station and caught the last two movements of
>a symphony I'd never heard before.  It was clearly Mahler (at first), because
>the scherzo I'd tuned in on had all the effects, and another very-close-to
>variation of the same theme that many Mahler scherz(os/i) have.  Except I knew
>all of Mahler's symphonies (except the 8th, which I know is choral), and this
>wasn't any of them.  A brief jolting "They've discovered Mahler's 1-1/2th!"
>(because the music seemed to belong about there in his development -- I've been
>unable to specify why I thought this, so I should muse on it some more...)
>soon gave way to "Ah, it's some quasi-pastiche Neo-Romantic symphony (although 
>it's doing a damn good job, like Easley Blackwood did that great job writing
>his 5th symphony a la Sibelius)."  Then the 4th movement started and I got
>confused again, because it sounded all Arthur-Sullivanish, bombastically
>English with a 'final chord' that was stretched out to thirty bars of nonsense.
>Then came the real kicker.  
>The piece was Hans Rott's symphony in E (I believe...), written more than a
>decade _before_ Mahler's 1st, and, as the announcer stated, "clearly an
>influence on Mahler's composition".  Well give that announcer the understate-
>ment of the year award!  All this time I've thought Mahler to have such an
>original unique voice that really struck new ground, and here he'd gone and
>gotten his ideas from this other guy (who then himself disappeared from rep)!
>I'm being unfair; ther's much more to Mahler than his scherzo theme, but if he
>was that much of a copycat here, who's to say he didn't steal his 'Ressurection'
>music from Kieter Dinklebrau?
>Has anybody else heard this piece, and have you felt as I?  Maybe we should set
>up a Mahler-disillusionment support group  :-)

Yes I have the Rott symphony, it dates from around 1881 I think,
which is only 6-7 years before Mahler's 1st, and I think Das Klangende
Lied dates from around 1881 anyway. Although there are points
of similarity, and Mahler himself when he finally saw Rott's score,
around 1900 I think, acknowledged this in terms which I'd need to look
up at home. Rott's symphony is nowhere near as original as Mahler's
1st, so I think any attempt to downplay his originality is a)
wrongheaded b) unfair and c) doomed to failure.

What there is of Mahler's juvenilia, the piano quartet movement, and
an attributed symphonic prelude dated 1876 show quite clearly the
future direction of his music.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: rodean@fc.hp.com (Bruce Rodean)
Newsgroups: rec.music.classical
Subject: Re: Mahler 1
Date: 2 Oct 92 20:30:11 GMT
Article-I.D.: fc.BvIGyC.4DE
Organization: Hewlett-Packard Co., Fort Collins, CO
X-Newsreader: TIN [version 1.1.4 PL6]

I don't have a recommendation since the recording I have hasn't shown up
on anyone's list so I assume it's a dog, but it was given to me anyway.
What I wanted to comment on was when I first listened to it (and I like
it nonetheless), it seemed like the opening few notes was just like the
Star Trek show theme.  Has this resemblence struck anyone else?

--
Bruce Rodean                          Hewlett-Packard Company
rodean@fc.hp.com
Newsgroups: rec.music.classical
From: dbrooks@penge.osf.org (David Brooks)
Subject: Re: Who wrote "A Midsummer Night's Dream"?
Organization: Open Software Foundation
Date: 4 Oct 92 15:00:28

jseboldt@pnet51.orb.mn.org (John Seboldt) writes:
> In fact, Wagner's heirs and survivors were aghast to hear
> that this was used in church in the U.S.  -- nobody would even think of doing
> that on the continent, considering Wagner's character and
> bias against established religion.

Well, Britain isn't technically on the Continent, but Wagner and
Mendelssohn are de rigeur there.

Once, when a Bishop decided he wanted to make the headlines by suggesting
that neither work is suitable to the occasion, the vox pop reaction was
generally to defend tradition: as one young couple said "They've bin arahnd
for fousands of years, woi chaynge?"

(we had Jesu, Joy, and the Widor Toccata)
--
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Four more months!  Four more months!
Newsgroups: rec.music.classical
From: sse@wind.bellcore.com (Samuel S Epstein)
Subject: orchestras
Reply-To: sse@wind.bellcore.com (Samuel S Epstein)
Organization: Bellcore, Morristown, NJ
Date: Thu, 1 Oct 92 22:34:42 GMT


The current thread on which conductors lead which orchestras brings to
mind a more interesting topic. Some time ago there was an extended and
very interesting discussion on the relative merits of pianists alive
and dead. I'd really like to see something similar for orchestras -
not proposed rankings, but descriptions of what different orchestras
sound like, and what repertories they're strong or weak in.
From: David.Martland@brunel.ac.uk (David Martland)
Newsgroups: rec.music.classical
Subject: Tahitian Choir
Date: 29 Sep 92 09:49:15 GMT
Organization: Brunel University, Uxbridge, UK
X-Newsreader: Tin 1.1 PL3

I heard a most amazing choral piece the other day on BBC's programme "Pick of the Week." It featured
a Tahitian Choir from an island/village called Rato. There is a CD available called, I believe, "Tahitian Choir."

I know it's not classical music, but the effect was incredible - with almost continual downward shifts of pitch.
My guess is that it would be very difficult to sing, although I could be wrong. 
Has any Western choir ever attempted such a thing?

It seems that choirs have been performing this sort of music for centuries. I recommend hearing it, even just
as a curiosity, as an example of very dynamic, unusual, choral, music from a non Western culture.

David Martland
Dept. of Computer Science
Brunel University
Uxbridge, Middlesex UB8 3PH
UK.
From: josh@aris.ss.uci.edu (Josh Stern)
Newsgroups: rec.music.classical
Subject: Re: Guido Cantelli
Date: 6 Oct 92 09:14:29 GMT
Article-I.D.: news.2AD158F5.8906
Organization: University of California, Irvine



>  Sorry for being a nuisance to some poeple here, but I can find no other
>way. I've posted to the classm-l mailing list and to Dave Lampson personally,
>but I think this forum would prove itself helpful.
>
>  I am trying to locate Guido Cantelli's performance of Brahms' 3rd Symphony
>with the Philharmonia Orchestra (and not the NBC or NYPO, as some people on
>classm-l thought). This CD (EMI, CDH7-63085-2), comes coupled with Schumann's
>4th. I have told on the list, that EMI have deleted this entry from their
>catalogue. If this is true, do you know of any not-so-hard way of getting it?
>I have received an address of a place where I can check it, but I would like
>to get some more references, in case that place does not happen to have that
>CD.
>
>Thanks a lot, and apologies to all the people who read this request for
>the second (or third) time...
>
>Misha.
>
>P.S. What do you think of the performance?

Both Cantelli's Brahms 3 and Schumann 4 are outstanding, IMO.
So the disc is worth searching for.  It was in the catalog until
fairly recently so you might want to try phoning stores in your
area which don't do a fast turnover.  Also, many Tower Records
stores carry large selections of EMI cutouts, with selection 
varying from one store to another.  

A question for other readers:

There are a number of modern performances of Brahms 3 which are
grossly similar to the Cantelli in interpretation - Dohnyani and
Abbado for example.  But are there any which are similar to Cantelli's
Schumann 4?  Are there any other performances in the catalog which
are even near in tempo (fast)?

Josh  	josh@aris.ss.uci.edu
Newsgroups: rec.music.classical
From: alan@highlite.uucp (Alan McConnell)
Subject: CZARDAS CZARDAS
Organization: Gotham Communications Research
Distribution: rec.music.classical
Date: Sat, 3 Oct 1992 14:30:26 GMT

My previous post, perhaps too flippant, fell between the cracks.  Forgive
me if I try again. (what's the ASCII icon for abject submission?)
  
Most people will have heard, played by Heifetz or m Rabin or Ricci or your
favorite local high school violinist, a piece called "Czardas".  I don't
know if it really is a czardas or not.  Anyway it's very well-known and
has been transcribed for viola, cello, clarinet, flute, and probably
euphonium.  The composer is one "V.Monti".  V. Monti is mentioned in no
reference book that I own or have access to; I haven't driven around to
U of MD to check the "new" Grove.  I've also asked lots of musicians -
no one knows anything.  My hope is that someone on the net will take
pity on me . . . 
Alan McConnell 
-- 
Alan McConnell             "What wondrous life is this I lead!
Pixel Analysis              Ripe apples drop about my head . ."