HDTenEightyP/NetNews huggingface dataset:
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: Re: Requia
Organization: HAC - Johns Hopkins University, Baltimore
Date: Mon, 14 Dec 1992 18:46:44 GMT

In article <2B2B8B1C.23882@news.service.uci.edu> jdooley@maemaster.eng.uci.edu (John R. Dooley) writes:
>
>I second these two recommendations.  And, I'll add a short piece
>by Josquin Des Prez ...  his eulogy on the death of Ockeghem.
>(?? d' la morte d' Ockeghem) (liturgically not a requiem, but beautiful.)

Since we're drifting from requiems stricto sensu, French musicians of the
17th century had a habit of writing "tombeaux" (or tombs) for their departed
colleagues and friends.  Marin Marais wrote one for Lully, as well as for
his master Sainte-Colombe, and for one of his sons.  I think Froberger also
wrote some (for Mr de Blancrocher); lutenists and harpsichordists also
followed the tradition.  Ravel's Tombeau de Couperin is, in title, a 
reference to it. 

-- 

	Francois Velde

Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Singer: Heinrich Schlusslos [?]
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Distribution: usa
Date: Fri, 11 Dec 1992 23:03:18 GMT

In article <CB.92Dec11130511@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

>I hope I have the name at least close--

Well, let's say your version of it is delightful.  His name is 
Schlusnus; your way would mean "without an ending."

>I heard his version of Mahler's
>Songs of a Wayfarer, on one of those syndicated late-night shows that
>aren't listed in my schedule.  The recording sounded pretty old.  This
>guy was great, quite different in tone from most voices we hear.  Anyone
>familiar with him?  Is the recording available?  (It's not in the
>Schwann I have.)

It's been a while.  I don't think he sang much after the Fifties, but 
I could be wrong.

Roger
From: tjc50@juts.ccc.amdahl.com (Terry Carroll)
Newsgroups: rec.music.classical
Subject: Re: Sviatoslave Richter
Date: 12 Dec 92 00:17:09 GMT
Reply-To: tjc50@juts.ccc.amdahl.com (Terry Carroll)
Organization: Amdahl Corporation

In article <2B287708.16233@news.service.uci.edu>, josh@aris.ss.uci.edu (Josh 
Stern) writes:
> In article <1992Dec11.031118.8272@fid.morgan.com> apter@fid.morgan.com 
(Steve 
> Apter) writes:
> >In article <1992Dec10.204620.13510@spang.Camosun.BC.CA> 
> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
> >>apter@fid.morgan.com (Steve Apter) writes:
> >>: In article <lieu0mINNf2m@news.bbn.com> delatizk@bbn.com (Jonathan 
> Delatizky) writes:
> >>: >So would one of you Richter fans please post a discography (or at 
least a 
> set 
> >>: >of recommended recordings).  There are too many of his recordings out 
there
> >>: >that are of questionable provenance and in indifferent sound, making 
it 
> hard
> >>: >for the novice who wishes to begin exploring Richter's art to know 
where to
> >>: >start.
> >>: 
> >>: Bach		Well Tempered Clavier	  Le Chante du Monde (4 CDs)
> >>: Beethoven	"Hammerklavier" sontata   Stradivarius
> >>: "		Diabelli variations	  Philips
> >>: Scriabin	Sonatas 2 5 9, Etudes	  Arkadia
> >>: Prokofiev	Sonatas 2 6 9		  Praga
> >>
> >>Liszt		Sonata in B minor	Philips
> >>Schubert	Sonatas 9, 10, 11, 12	Olympia
> >>		etc.
> >>Schumann	Various pieces		DG
> >>Schumann/Chopin	Various			Olympia
> >>Liszt		Piano Concertos		Philips
> >>Schubert	Piano Sonata D960	Music & Arts, ASDisc
> >>
> >Schumann	Symphonic Etudes	JVC (and elsewhere)
> >Franck		Piano Quintet		Philips (w/ Borodin Qt.)
> >Beethoven	Sonata 23		RCA Papillon
> >Miaskovsky-Shostakovich-Prokofiev	Pyramid
> >>
> Prokofiev	Sonata 8		DG
> Prokofiev	Piano Concerto 5	DG
> Beethoven	"Tempest" Sonata	EMI
Mussorgsky-Ravel Pictures at an exhibition (w/Szell/Cleveland) RCA?

Terry Carroll - tjc50@juts.ccc.amdahl.com - 408/992-2152
The opinions presented above are not necessarily those of a sound mind.
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Lost Masterpieces was Re: Dresden was Re: One-work-composers
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 17 Dec 1992 22:57:20 GMT

In article <1992Dec17.161155.24452@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>>In article <1992Dec14.173939.6318@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>>>written probably at least 4 before that. The conductor Willem
>>>Mengelberg recalled an all night session spent at the house of the
>>>Weber family (descendants of the composer) in - perhaps - the 1920s,
>>>playing through the manuscripts of 4 unknown Mahler symphonies which
>>>he had entrusted to Baroness von Weber. As the family lived in Dresden
>>>it is unlikely that the manuscripts survived......
>
>I'd just like to point out that this is a non-sequitur.  Contrary
>to popular image, Dresden as a whole was not leveled -- only the 
>central area and a few other areas.  Many residential areas, including some
>where nobility might have lived, were untouched.  The Landesbibliothek,
>among other things, remained intact (thank heavens!).
>
>Besides, great treasures such as those scores, if they existed, would
>probably have been evacuated.
>
>Roger



New thread:  Presumably great works which were, or might have been, 
lost or destroyed.

Havergal Brian's cantata _Prometheus Unbound_ and Alkan's symphony come
to mind.  

I'm particularly interested in work destroyed during the two world
wars.

Does anyone have a sense of what might be out there, lying around in
someone's attic, or buried in the Vatican archives?





Newsgroups: rec.music.classical
From: owen@lloyd.Camex.COM (Owen Hartnett)
Subject: Re: Greatest living conductors
Organization: Camex Inc., Boston MA
Date: Fri, 18 Dec 1992 10:40:13 EST

>In article <1992Dec17.163848.21628@msuinfo.cl.msu.edu> fernande@cps.msu.edu (Jose Roberto Fernandez) writes:
>>Inspired by the recent thread about greatest living pianists, I
>>propose another thread on the "greatest living conductors."  So,
>>who do you think are the greatest living (or recently died) 
>>conductors?  I nominate the following for the top tier:
>>
>>*Karajan, Solti, Giulini, and *Bernstein
>>(additional possibilities being Abbado, Haitink, and Maazel)
>>(*-died recently)
>

I'd have to second the nomination for Carlos Kleiber, and add in Klaus
Tennstedt.  Those are the two conductors I'd drop everything to see.
Solti certainly is at an extremely high level of virtuosity and artistry,
but he doesn't engender the same excitement for me as the above two.
When Karajan was hot, there was no one close, and he lent a distinctive
level of excellence to that repertory that he had an affinity for.  Giulini,
Maazel, and Abbado, from what I've heard, I don't understand what the
fuss is for these guys - perhaps I haven't heard enough of them at their
best.

Haitink is certainly an excellent conductor and always a pleasure to listen
to.  There seems to be something about him which keeps him from getting
the recognition he should be getting.  Bernstein, while capable of some
intensely thrilling moments, disappoints and frustrates me more than
any other conductor, save Ozawa, who disappoints and frustrates exclusively.

No one's mentioned James Levine, who I would rank up with the top
conductors.  To me he's the finest American conductor. Certainly, Slatkin
is worth an evening's listening.  Surprise Entry:  John Williams, soon to
be ex of the Boston Pops, can handle the classical and "light" classical
(Give me some classical music -- "light," bartender!) extremely well and
is a pleasure to listen to, particularly with a good orchestra under him.

In the fairly recently deceased, Karl Bohm did some great stuff.  I'd
have to second that posted Marriage of Figaro video recommendation just to hear
that great orchestral sound that Bohm put into it.

-Owen

Newsgroups: rec.music.classical
From: broken@venison.bae.bellcore.com (Tony Brokenborough)
Subject: Re:    Ruinous endings (was: The BEST Finale)
Organization: Bell Communications Research
Date: Thu, 17 Dec 92 20:44:24 GMT

In article <92352.133000RHASKINS@UMAB.BITNET>, Robert Haskins <RHASKINS@UMAB.BITNET> writes:
|> Simon.N.McRae@dartmouth.edu (Simon N McRae) writes:
|> 
|> > Has anyone considered on the other hand the most ruinous endings?  I
|> > mean by this the worst tie up's to otherwise wonderful music.  I'd have
|> > to nominate in this catgory any Italian opera by Mozart.
|> 
|> I will leave it to others to debate this point; I'd rather take up the
|> idea for this (potentially) most entertaining thread.  I've always found
|> Bartok's endings rather problematical -- two standouts are the end of
|> the Fourth String Quartet (the recap of the end of the first movement)
|> to close this magnificent work always seemed to me too pat and convenient,
|> though I know others regard it as the consummate brilliant stroke; and
|> the end of Music for Strings, Percussion, and Celeste -- too abrupt.
|> One good one, however, is the end of the Third String Quartet (and
|> now that I think of it, the Sixth Quartet).
|> 
|> Bob

How about the ending to Bruckner's so-called 'Romantic' symphony.

The ending is exactly like the rest of the meaningless noise in the score....
BORING !!!!!!!!!`

Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: The BEST finale!
Organization: Open Software Foundation
Date: Wed, 16 Dec 1992 21:08:20 GMT

stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
| What is YOUR favorite ending or finale to a classical piece?

A lot have people have made great suggestions, and I did waver, but I'll
also take the first three that came to me:

	Berg's violin concerto.
	Das Lied von der Erde.
	St. Matthew Passion.

All Austro-German.  Hmmm...
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Allberall und ewig blauen licht die Fernen!  Ewig... ewig... ewig...
Newsgroups: rec.music.classical
From: caf@omen.UUCP (Chuck Forsberg)
Subject: Re: why no amplified solos?
Organization: Omen Technology INC, Portland Rain Forest
Distribution: rec
Date: Fri, 18 Dec 1992 12:26:57 GMT

In article <1992Dec17.4216.25644@dosgate> "alexander inglis" <alexander.inglis@canrem.com> writes:
>PMU>First, let me make it clear that I am not trying to be a smart-ass rock-hea
>   >who doesn't understand the concept or the innate beauty of accoutic recordi
>
>PMU>With that said, here is my question:
>
>PMU>"Why do you never hear concerts of symphonic works performed on 'electric'
>   >instruments?"
>
>That's easy: because there isn't any repertoire for the players to play.

The Portland Opera used a synthesizer for the glass harmonica part in Lucia's
Mad Scene a few years ago.  It was most effective in preserving the mood of
the scene compared to the modern practice of substituting a flute.
-- 
Chuck Forsberg WA7KGX          ...!tektronix!reed!omen!caf 
Author of YMODEM, ZMODEM, Professional-YAM, ZCOMM, and DSZ
  Omen Technology Inc    "The High Reliability Software"
17505-V NW Sauvie IS RD   Portland OR 97231   503-621-3406
Newsgroups: rec.music.classical
From: alight@rock.concert.net (Alan R Light -- Personal Account)
Subject: Borodin Symphonies
Organization: CONCERT-CONNECT -- Public Access UNIX
Date: Fri, 18 Dec 1992 00:17:42 GMT

In response Lionel Tun's message:

I have a DDD recording of Borodin's Symphonies 1 & 2 on Philips
(422 996-2) which I got from BMG.  I think it is done pretty well,
but I'm no authority on the subject.  Valery Gergiev is conducting
the Rotterdam Philharmonia Orchestra on this recording.

Can anybody recommend a good recording of Prince Igor?
I'd also like to know about good recordings of anything else by
Borodin, especially orchestral works.

-- Alan
Newsgroups: rec.music.classical
From: pawel@tethys.ph.albany.edu
Subject: Re: Why no amplified solos?
Reply-To: pawel@tethys.ph.albany.edu
Organization: SUNYA School of Public Health, Albany, NY
Date: Thu, 17 Dec 92 15:59:21 GMT

In article <1gq6nfINNc58@menudo.uh.edu>, chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789") writes:
>In article <BzDoqu.Jv8@mach1.wlu.ca>, mart4678@mach1.wlu.ca (Phil Martin u) writes:
>>
>>With that said, here is my question:
>>
>>"Why do you never hear concerts of symphonic works performed on 'electric'
>>instruments?"
>>
[...]
>
>These will get you started -- there are plenty of others out there. Does 
>anybody else have any favorites I've missed?
>
>Happy listening,
>Bill
>

  Schnittke, of course.  He's Concerto Grosso (?) has electric guitars
and might be the closest to what Phil is looking for.  It's still not
Hendrix, but close enough ...
                                       Pawel Penczek
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: The worst composer in a millenium
Date: 14 Dec 92 01:52:17 GMT
Organization: MIND LINK! - British Columbia, Canada

> Ravi S Moorthy writes:
>
> I had the misfortune of buying Oliver Messiaen's "Turangalila Symphony"
> conducted by Rattle.  To give credit where it is due, it is the worst
> music I have ever heard.  Pardon me Messiaen lovers, but I cannot make
> any sense of his mumbling mystecism or the interminable bird calls.
>


(Words fail me...)
Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: re: Requia, pass 2
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Tue, 15 Dec 1992 19:57:02 GMT

In article <mrqbpi8@Unify.Com> dbrus.Unify.Com.ceb@unify.uucp (Caroline E. Bryan) writes:
>Someone asked which recording of Mozart's Requiem I have, so I thought I'd
>bring all the CD's in and just list them.  Also I repeat my question of
>other requiems that netters have enjoyed!
>
>Requia I have listened to and loved:
>

[ list deleted ]

>
>So, whose requiem am I committing a criminal act of being ignorant of?
>
>

Given your list, I would have to say the Britten.

As the twentieth century grinds to a close, and various 'best of' lists
are compiled, this piece will make many 'top ten's.


>Carrie		ceb@rechenau.unify.com	x6244     ---------------------------+


Don Pajerek

Standard disclaimers apply.
From: adolphso@mizar.usc.edu (adolphson)
Newsgroups: rec.music.classical
Subject: Re: NEWS: Pavarotti booed out of the SCALA
Date: 18 Dec 1992 15:07:47 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: mizar.usc.edu

In article <w0PqVB1w165w@midiline.la.ca.us> 
pattisan@midiline.la.ca.us (Patti Hayes) writes:

>  I agree ...there was a tenor name wunderlich...that died just before his 
>debut at the Met who *I* believe would have made him look like chopped liver!

There have been *lots* of tenors who make Lubiano (hey! where's
the high C?) Pavarooni look like chopped liver.

>But as to the Boorishness of the audience...It was at LA SCALA...A tenor king-
>dom like  San Francisco...In EUROPE they want things right and if you don't do
>so you get booed!...

And rightly so.

>remember MOST of the audience knows the opera,aria,etc
>just as well as the performer. They are mostly frustrated singers and are just
>waiting for the performer to make a mistake. 

I'm trying to imagine Teatro la Fenice or Theatre de la Monnaie
crammed full of frustrated singers just waiting for a singer to
flub a high note.  No, there's something wrong with that picture.
In any case, the people *I* know who go to operas know their stuff
inside and out and don't hesitate to boo a big-ticket star when
he or she performs like an amateur.

>When it comes to opera I accept the euro stand-
>ard on the classic operas and look to the american companies for a little in-
>novation about staging and casting but not about interpretations.

Whatever are you talking about? 

>Some singers here are really poorly trained 

Just *here*?

>but because someone is
>needed for the role and maybe the role is not THAT important to the main 
>story...they get cast.

This is just a *tad* simplistic.

>I find them embarrasing with their jaws shaking and 
>lack of diaphram control coupled with poor breath control. I may not boo
>because I am in america but I sure let someone know about my lack of satis-
>faction about their choice.

Just boo the next time.  It gets the point across quickly and easily.

Arne

Newsgroups: rec.music.classical
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Re: _Scientific American_ on Music
Organization: University of Illinois at Urbana
Date: Fri, 11 Dec 1992 19:11:14 GMT

Noam Elkies writes
> Two recent articles in _Scientific American_, should be
> of interest to many rec.music.classical readers; I'm
> surprised that they apparently have not been mentioned
> here earlier, but better late than never:
> 
> Diana Deutsch: Paradoxes of Musical Pitch.  Sci.Am. 8/92, 88-95.
> 
>   This article reports on the sometimes surprising results of
>   experiments [involving] Shepard tones....

I was also surprised this article wasn't brought up here.  As well as finding  
the results of the experiments interesting, I was also intrigued by the mention  
of the fact that scales of Shepard tones have been used in some contemporary  
music.  (These are scales which seem to go higher and higher (or lower) for as  
long as desired, without ever really going anywhere; sort-of like a barber's  
pole.)  The author mentioned that such a scale was used by Risset to represent  
the falling of a bomb.  Anyone know of other examples, particularly in  
non-electronic music?

Ed erwin@lisboa.ks.uiuc.edu
From: ray.horton@tfd.gwinnett.com (Ray Horton) 
Newsgroups: rec.music.classical
Subject: Re: The worst composer in
Date: 15 Dec 92 11:16:00 GMT
Distribution: world
Organization: The Fifth Dimension - Louisville, KY - 502-423-8654
Reply-To: ray.horton@tfd.gwinnett.com (Ray Horton) 

JB>Newsgroups: rec.music.classical
JB>From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
JB>Subject: Re: The worst composer in a millenium
JB>Message-ID: <Bz7wp6.9n7@uxa.ecn.bgu.edu>
JB>Date: Sun, 13 Dec 1992 21:51:06 GMT

JB>Chicago Symphony performed Messiaen's Et Exspecto Resurrectionem
JB>Mortuorum last week with Boulez conducting, along

JB>piece.  That piece just drew me in, and it certainly was the most profound
JB>music experience I have had with the CSO.

A highlight of my teen years was getting to play that with a professional
group at the Aspen Festival many years ago. If you think it's great to
listen to, imagine hyper-ventilating on those long, low, bass trombone
notes while all sorts of bells and chimes are ringing behind you -
it was quite an experience!
---
 . DeLuxe. 1.25 #12024 . Which is the non-smoking lifeboat?
                                                                
Newsgroups: rec.music.classical
From: hellerS@moravian.edu (sjh)
Subject: Re: Bartok in "The Shining" (was Bela Bartok info.)
Distribution: na
Date: Wed, 16 Dec 92 09:40:09 EST

In <BzBMJC.D9A@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:

>In article <1992Dec15.203657.20097@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>>
>>In article <92350.134032MLH119@psuvm.psu.edu>, <MLH119@psuvm.psu.edu> writes:
>>|> Could anyone tell me what the name of the piece of Bartok's music that was
>>|> used in the soundtrack to the movie, The Shining.
>>|> Any information would be greatly appreciated.
>>|> 
>>|> Michael Hock --- MLH119 at PSUVM
>>
>>Seems to me they used some excerpts from a piece with a title something
>>like: Music for orchestra, piano, and celeste

>Yes, and it sounds like Kubrik or whoever did the screenplay wrote that
>to fit the phrasing of the music exactly.  The whole scene follows the
>emotion of the melody in the most exact way.  This is the scene between
>the boy and Nicholson where Jack says he will never hurt the boy.

>I am not sure, but there might be some other Bartok pieces elswhere in
>the movie.

Kubrick used a portion of Ligeti's "Lontano" in this film as well. Kubrick
is usually very astute in his use of classical music in his films, and yes,
I believe he chooses the music himself.
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Why no amplified solos?
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Thu, 17 Dec 1992 20:34:21 GMT

Scelsi's orchestral works Hurqualia and Uaxuctum feature electronically
amplified solo instruments.

Much Carnatic classical music makes use of amplification, a particular
example being Balachander's veena playing.

T. M. McComb
Newsgroups: rec.music.classical
Subject: Do U.S. clarinet sections use identical instruments?
From: coscsjc@otago.ac.nz
Date: 12 Dec 92 19:28:27 +1300
Organization: University of Otago, Dunedin, New Zealand

In a recent symphonic band workshop we in the clarinet section noticed
that between us there were a fair number of different brands of
clarinet: Buffet, Leblanc, Yamaha (Custom), Boosey & Hawkes, Noblet
and Wurlitzer.  This reminded me of something I once read (possibly in
one of Jack Brymer's books) claiming that some wind bands and
orchestras in the U.S. try to achieve a uniformity of sound in their
clarinet sections by demanding that the players play on identical
instruments -- and possibly also similar mouthpiece and reed setups.
Is this really true?  I find it hard to believe that this would
achieve anything given that different clarinettist's sounds (and
desired sounds) can vary so widely.

- Stephen
------------------------------------------------------------------------------
Stephen Cranefield                                 E-mail: coscsjc@otago.ac.nz
Artificial Intelligence Laboratory                 Phone: (+64 3) 479 8588
Department of Computer Science			   Fax:   (+64 3) 479 8529
University of Otago, Dunedin, New Zealand
------------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Recorded using B&W speakers
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 18 Dec 1992 00:51:04 GMT

fernande@cps.msu.edu (Jose Roberto Fernandez) writes:
: I've seen a few CDs with notes indicating that they were recorded
: "using B&W speakers."  My question is, how are loudspeakers "used"
: in a recording and what influence do they have on the quality of
: a recording?

I've often wondered why EMI - for it is they is it not? - don't use
microphones like everybody else. :-)

Speakers are used in the control room for monitoring the sound as it
is being recorded and playback to artists and producer afterwards.
Obviously the 'better' (whatever *that* means) the speakers used the
better. 

--
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,alt.flame