HDTenEightyP/NetNews huggingface dataset:
From: faiman@cs.uiuc.edu
Subject: Re: Perahia, Pratt
Organization: Dept. of Computer Sci - University of Illinois
Date: Wed, 27 Jan 1993 16:46:27 GMT


    I also had the pleasure of hearing Awadagin Pratt's performance at
Krannert last fall, and I have to agree that he is a talented pianist.
However, he is not (yet) in the same league as Murray Perahia.  Although
he has a commanding technique, I felt that the Op 110 was beyond his
interpretive powers.  But, he is at the beginning of his career, and I
would hope to hear him again.

 -- Mike Faiman, Urbana

.
Newsgroups: rec.music.classical
From: tkurs-2@wilburzdv.Uni-Mainz.DE (Oliver Wuelk)
Subject: Re: Some recorded rarities ?
Keywords: Bach Rahmaninov Debussy vocal music
Organization: Johannes Gutenberg Universitaet Mainz
Date: Thu, 21 Jan 1993 16:38:30 GMT

In article <1993Jan20.091115.19831@nic.funet.fi>, tommila@convex.csc.FI (Tero Tommila) writes:
|> Does anybody know about the existence of a complete recording of Rahmaninov solo songs
|> on CD (pure digital or even a good analog transfer/remastering) ? It seems there are none
|> available now.
I'm afraid, I don't know about that. I just happen to have about a dozen of these
recorded from radio a year ago. I do like them a lot, though I'm not a singer
myself; but I've heard very appreciative comments on Rachmaninov's songs in
general from a tenor abroad.
|>  
|> Are there any recordings yet of Rahmaninov's "Fransesca da Rimini", "Miserly Knight" and
|> "Prince Rostislav" ? Why do they issue the 104th (or so) version of Vivaldi's "Seasons"
|> or like that and not those I mentioned ???
I personally have two recordings of "Prince Rostislav" on the Melodiya and on the
Le chant du Monde -labels. I think the latter one also recorded Aleko (that's for
sure) and the "Miserly Knight". Don't know much about the Francesca though.

If you happen to get some answers referring to the songs, would you let me know.
Newsgroups: rec.music.classical
From: ktw@polaris.ATT.COM (Ken Wolman)
Subject: Re: Schipa, Gigli, and Tagliavini
Originator: news@cbnewsb.cb.att.com
Reply-To: Kenneth.Wolman@att.com
Organization: AT&T Bell Laboratories
Date: Sun, 24 Jan 1993 13:34:15 GMT

In article <1993Jan24.050005.1912@walter.bellcore.com> hsong@ardour.bellcore.com (G. Hugh Song) writes:

   That is my point.   Did voices of Schipa and Gigli contain a voice 
   quality with a lot of nasal sound indeed?   I think that Tagliavini in the
   sixties had a very similarly sounding voice to these two old tenors.
   His recordings were made with stereo.   I like his voice.  But I think that
   people consider that kind of voice is out of fashion nowadays.   However, I
   sometimes feel that most music critiques are very generous on old singers.

I heard Ferrucio Tagliavini twice at the Metropolitan Opera in 1962.
He made what I remember now as a short-lived return to New York to
appear in L'Elisir D'Amore and La Boheme, and I heard him in both.
Given a distance of 30 years between me and the event:-), I remember
his performance in the Donizetti as one of the greatest demonstrations
of vocal artistry I've ever heard.  There had been rumors that
Tagliavini's voice was a ruin; you could not tell it from what he did
the night I heard him.  "Una Furtiva Lagrima" remains in my memory: he
used his famous head tones wonderfully, seamlessly, and really seemed
to "spin out" the aria, rather than just sing it.  (It was Nostalgia
Night for everyone: the Dr. Dulcamara as Salvatore Baccaloni.)

A week later I heard him in Boheme, and he was awful.  He barked, he
forced, he strained his way through "Che Gelida Manina" and everything
else.  Granted, the old Met's auditorium was an invitation to force
one's voice beyond what it could safely handle, but the difficulties
of Boheme exposed what the years had indeed done to Tagliavini's
voice.

He was also an inattentive dramatic partner.  While the soprano
singing Mimi (I think Lucine Amara) was performing "Mi Chiamano Mimi,"
Tagliavini strolled around the stage and never looked at her.

Ken Wolman
--
Kenneth Wolman          |       To die of fear of revealing yourself
AT&T Bell Laboratories  |       to the person who loves you is murder. 
(908)582-4815           |       
Kenneth.Wolman@att.com  |       	--Stan Rice, "Anne's Curls" 
Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: Sibelius suggestions?
Organization: Helsinki University of Technology, Finland
Date: 23 Jan 93 01:47:12

In article <1993Jan21.165953.2003@ifi.informatik.uni-stuttgart.de> snripe@informatik.uni-stuttgart.de (Sailendra Nripendra) writes:
>I wondered why nobody suggested the incidental music THE TEMPEST;
>the prelude part (op. 109?) is an extraordinary piece of orchestral
>music. 

  Now the complete set is available on BIS by the Orchestra of Lahti
  (don't remember the catalogue number). That should be interesting.
--
!
!  Jyrki.Wahlstedt@hut.fi
!  Home: Lansankallionkuja 2 B 12  phone:+358-0-52 46 81
!	 02630 Espoo
!	 Finland
!
!  Our life is no dream, but it should and will perhaps become one.
!
From: wikla@cs.Helsinki.FI (Arto Wikla)
Newsgroups: rec.music.classical
Subject: Re: Classical Music for modern instrument (was Re: The shortest distance between two chords is...)
Date: 22 Jan 1993 09:55:31 +0200
Organization: University of Helsinki, Department of Computer Science
NNTP-Posting-Host: hydra.helsinki.fi

I agree with Vance. Rock certainly is not trivial music. 
One special thing which interestst me is the micro structure
of rythm: The (improvised) melodies (often) have very complex
lengths of notes, ratios which cannot be expressed by normal
music writing. Even the very basic pulse, which is in between
triple and pointed notation, is unexpressable. This is quite
similar - by the way - to the 'notes inequales' -ryhthm of
baroque - especially French baroque. 
And all the variations of this belong to the toolbox of 
a rock musician, and also of renaissance and baroque musician!
Anaother feature in common is the difference between music
on paper and music to be played, and thus the role of musician
becomes more important; different times the same piece can and
may be very different, depending on the mood of the player and
the audience.
Another important and complex feature in rock is that the 
tone colour is heavily used as an expressive media, at least to
my ears much more than in the colourfull music of late 19th 
century.

Arto Wikla, Helsinki, Finland

PS There is an old recording (douple LP) for introducing the
   instruments of orchestra. It ends with different 'exotic'
   'clapping' instruments, and the musicians with classical
   education play some Latin American rythms. The music is
   totally dead without any swing, and you can clearly hear the 
   bar lines. Really amusing!
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: The Met's "Semiramide"
Organization: University of Delaware
Date: Thu, 21 Jan 1993 15:23:37 GMT

In article <1jlat6INNp3u@mizar.usc.edu> adolphso@mizar.usc.edu (adolphson) writes:

>Partial vindication is mine!

And isn't it nice when we can both claim (partial) rightness!

>In article <1jks6fINNk7g@mizar.usc.edu> 
>adolphso@mizar.usc.edu (adolphson) writes:

>Jon:
>> >>> Serious Rossini
>> >>> just wasn't being done in her day, not to mention the incongruity of her
>> >>> voice in it.  Were you thinking of an earlier soprano?

>Me:
>> > >Incongruity of Sayao's voice in it?  I don't know.  Have you
>> > >ever heard any of her Rossini?  It's really quite wonderful.

I was, by the way, thinking of the incongruity of a soubrette soprano
like Sayao's in a *complete* Semiramide.  I have do doubt she could do
quite a pleasing Bel Raggio as an isolated item.  But topping all those
ensembles and finales regally?...  (And I really was right in saying
that the repertoire wasn't being done then, in any case.  Rossini at the
Met -- or anywhere for the most part -- meant Barbiere and nothing else.)

Not (as you say) that Cuberli does better.

>I just got off the phone with a friend of mine in Philadelphia
>who owns a pirate recording of a Barber of Seville broadcast
>with Bidu Sayao as Rosina.  He reminded me that he's played
>it for me a couple of times and, ta-da!, Bidu always sang
>Bel raggio in the music lesson scene.  If you want particulars
>on the recording I can get them for you.

No need, but glad to get this cleared up.  Last night I had one of those
"revelations" that you'd been engaging in a giant put-on, which I was
being too much of a humorless snob to get.  Nice to know we all had
reason on our respective sides.

Jon Alan Conrad
From: ryljjc@minyos.xx.rmit.oz.au (Jacqui Conn)
Newsgroups: rec.music.classical
Subject: Music Quiz - Murderous Composers?
Date: 25 Jan 1993 06:28:07 GMT
Organization: RMIT Libraries
NNTP-Posting-Host: ghmac.lib.rmit.edu.au

I am trying to track down the following quotes.

Would anyone know:

1)  Who said of whom: 'I compose to live; my brother lives to compose'?

2)  Of which (then young) French composer did Berlioz say: 'He knows everything, but lacks inexperience'?

3)  Which director of the Paris Conservatoire is said to have travelled in on the Metro, got out a stop early, and taken a taxi, to keep up appearances?

4)  Which prima donna, engaged to sing in London, married on the journey from Venice the harpsichordist sent to fetch her?

5)  What do Jena and Odense have in common?

6)  Name one composer who murdered his wife.

I would be grateful for even one answer to these questions.

Thank you in advance.

Jacqui Conn
ryljjc@minyos.xx.rmit.oz.au
no fancy signature, yet, novice user.
From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Newsgroups: rec.music.classical
Subject: Poul Ruders' music on a Bridge CD - review
Date: 27 Jan 93 02:15:43 GMT
Organization: University of Rochester (Rochester, NY)

Denmark, despite its liberal attitudes, clearly has a dark side.  There
was gloomy Prince Hamlet, and then there are those sadistic "fairy
tales" by Hans Christian Andersen -- his version of "The Little
Mermaid" is sad and twisted in a way that Disney Studios could never
have dreamed of.   

Danish composer Poul Ruders was born in 1949,  and a new CD of his
chamber music was recently issued on Bridge Records (BCD 9037). This
is dark stuff, dangerous and fascinating like the eyes of a poisonous
lizard, but worth getting to know. 

The longest work on the disc, "Psalmodies," is a suite of eleven pieces
featuring the guitar, either alone or with various combinations of
instruments.  Prevailingly bitter in tone, it still manages a few
moments of mordant humor, which is more than can be said for "Vox in
Rama" and "Nightshade," the other two works on this disc.  The former
work, scored for amplified violin, clarinet and piano, gets its emotional
energy from the Biblical episode of Rachel weeping for her children.  In
his notes, the composer himself mentions "pale moonlight, tombstones,
crypts, and the elusive shadows inside a huge forest in the dead of
night" to set the scene for the latter work, which is scored for an
ensemble of ten instruments. 

Even though it makes few concessions to those who need a melody to
hang their hats on, Ruders' imaginative scoring and attention to mood
will seduce listeners who give this music a chance. If you enjoy John
Corigliano's Clarinet Concerto or Jerry Goldsmith's fine score for the
film "Alien" then you probably will respond to Ruders' dark world of
sound.   

"Psalmodies" is played by guitarist David Starobin (always a champion
of contemporary music) with the ensemble Speculum Musicae conducted
by Donald Palmer.  The other two works are played by members of
Capricorn, under the direction of Oliver Knussen.  Ruders' music sounds
as technically demanding as it is emotionally, and I didn't hear any
faltering from either of the ensembles.   

The sound quality is wonderful too; "Psalmodies" was taped last year in
RCA/BMG's Studio A, and the other two works were recorded by Danish
Radio in 1987.  Any complaints?  Well, the total timing of 47:11 was
unimpressive, but that's just about the only fault I can find with this
very interesting release. 




--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).
Newsgroups: rec.music.classical
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Subject: Re: Mahler 7
Organization: University of Virginia
Date: Mon, 25 Jan 1993 01:53:17 GMT

In article <RM0WB3L5@cc.swarthmore.edu> rbrooks1@cc.swarthmore.edu (Robert Brooks) writes:
>Picked up the DG Bernstein Mahler 7 yesterday from Philly Tower Records and
>it completely blew me away (thanks Deryk ;-) ).  I saw the Horenstein too
>but I'm afraid I fell into the digital trap in deciding which version to buy
>(it's my first) although I do intend to pick it (Horenstein) up at some
>point.  Anyone else want to comment on their favorite 7? 

Why...YES! I'LL take a turn! (again! :) )

I love this 7th, also,ut for some reason, perhaps Bud Herseth's amazing
intensity (as principal trumpet), I like the Abbado/Chicago recording a
hair better.  


-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote
From: dozonoff@bu.edu (david ozonoff)
Newsgroups: rec.music.classical
Subject: Re: Who does Tchaikovsky well?
Date: 27 Jan 93 03:00:47 GMT

: Leningrad Phil. on DG. For a more modern performance (not that there
: is anything wrong with the DG '60's sound), try Jansons and the 
: Oslo Phil.on Chandos.
: gav
X-Newsreader: Tin 1.1 PL5

The Mravinsky performances are truly spectacular. They have to be heard 
to be believed.  I can't conceive of better performances. All others 
pale in comparison.

Dave Ozonoff
dozonoff@med-itvax1
Boston University School of Public Health
80 East Concord St., T3C
Boston, MA 02118
(617) 638-4620
Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Want comments on Shaw's Mahler Symphony #8
Organization: University of Delaware
Date: Thu, 21 Jan 1993 22:57:46 GMT

In article <1993Jan21.061425.25782@organpipe.uug.arizona.edu> tom@astro.as.arizona.edu (Thomas J. Trebisky) writes:

>Mahler Symphony #8 -- Atlanta Symphony Orch. Shaw -- on Telarc label.
>	This one tempts me, but I haven't purchased it ... yet.
>	Should I?

No.  A rare total washout for Shaw.  Weak choruses, mediocre soloists,
unconvincing sound, tepid conducting.

Go for Solti, with Tennstedt or Inbal as backups.

Jon Alan Conrad
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: Define "Well Tempered"
Date: 22 Jan 1993 13:07:58 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <1993Jan22.155421.21393@netcom.com> hatunen@netcom.com (David W Hatunen) writes:
>In a scientifically proper musical scale, [...]

What Dave says is essentially correct, but the terminology in his and
other posts is not entirely correct. Just for the sake of clearing up
any confusion, here are some definitions:

Tuning system: A method by which a musician decides what frequencies
	are represented by which sounding bodies on an instrument.
Just Intonation: A tuning system based on frequency ratios that can
	be represented by relatively low-number fractions. These
	intervals can all thus be found relatively low in the harmonic
	series (the "overtone" series).
Temperament: Any tuning system which has frequency ratios that are
	irrational numbers (or representable by such large numbered
	fractions that they are for practical purposes irrational).
"Well" temperament: A class of temperaments common in the 18th century
	in which all keys are playable, but the more common keys have
	consonant intervals (closer to just) than the less common keys.
	It is assumed that Bach used some kind of temperament in this
	category.
"Circular" temperament: A class of temperaments common later in the
	18th century and after in which all keys are not the same, but
	the inequities are spread more or less evenly around the cycle
	of fifths (i.e. no preference for more commonly used keys).
Equal temperament: A tuning system in which all the adjacent intervals
	are exactly the same. In the case of 12-tone equal temperament,
	each semitone has the ratio of the twelfth root of two.
Diatonic: Nothing to do with tuning systems (at least in modern usage) -
	fitting into a pattern of intervals that can be represented by
	the white keys of a piano (i.e. major, minor, Lydian, etc. are
	diatonic scales; harmonic minor is not).

There are plenty of other types of tuning systems and temperaments, of
course.

Bill
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: Define "Well Tempered"
Date: 25 Jan 93 21:03:45 GMT
Article-I.D.: husc3.1993Jan25.160347.19782
Organization: Harvard Math Department

In article <b6n3#+#@rpi.edu> mccomt@aix.rpi.edu (Todd Michel McComb) writes:
:In article <1k1bm6INNqli@calvin.usc.edu> William Alves writes:
:>In article <1993Jan22.190740.16225@Princeton.EDU> Roger Lustig writes:
:>>In his [Bach's] time
:>>it was near impossible to implement true equal temperament; the one he
:>>used had the advantage of feasibility.
:
:>Being one who used to regularly tune harpsichords in equal temperament
:>by ear, what does this mean? It's true that most well- and meantone
:>temperaments are far easier and less time consuming, but equal tempera-
:>ment is hardly "near impossible."
:
:Perhaps this is greatly facilitated by having been exposed to so much
:equal temperament during your life?  I can imagine that the first person
:to try to implement such a tuning may have had considerable less confidence
:about what it should sound like.

But lutes had to be fretted to an equal-tempered scale, a fact I'm told
was recognized by temperament theorists at the time.  So your primordial
equal-tempered harpsichord tuner would have been exposed to some equal-
tempered tuning, and had *some* idea what that tuning sounds like ---
at least on the lute stop ;-)

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
From: ca_ac@gsbacd.uchicago.edu
Subject: Re: Bach's Sonatas & Partitas Vln Solo
Organization: 
Date: Fri, 22 Jan 1993 18:04:34 GMT

In article <C19BD8.7KB@dcs.glasgow.ac.uk>, jack@dcs.glasgow.ac.uk (Jack Campin) writes:
> Did Ruggiero Ricci ever record a set of these?  I once heard him playing
> the E Major Partita live: about the most spinecrawlingly astonishing violin
> playing I've ever heard.  Could he do as well in the studio?
> 
> -- 
> --  Jack Campin    room G092, Computing Science Department, Glasgow University,
Something in the recesses of my brain (!) tells me that he has, though I don't
think I've ever actually heard them. I'll have to go home and check on this.
							Alak Chakravorty.

P.S. My mailer seems to be acting up, so if you get some garbage from here
    I do apologize.
Newsgroups: rec.music.classical
From: jim@fuji.eng.yale.edu (James J. Szinger)
Subject: Re: Classical Music for modern instrument
Organization: Yale University, Intelligent Sensors Lab, Elect. Eng.
	<1993Jan22.165442.20387@colorado.edu> <1jpbt0$1fm@agate.berkeley.edu>
	<1993Jan23.033540.11775@colorado.edu>
	<Jan.24.02.13.23.1993.21034@ruhets.rutgers.edu>
Date: 25 Jan 93 22:31:23

In article <Jan.24.02.13.23.1993.21034@ruhets.rutgers.edu>
bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:

>There's a Robert Christgau quote: "What the guys in [the band]
>U.K. don't understand is that it's not difficult to rock out in
>7/4 time, or even impressive.  It's impossible."

What about "Money"?
--
James Szinger                        jim@fuji.eng.yale.edu

"He was born with a gift of laughter and a sense that the world was mad."
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Boosey sues Disney
Date: 26 Jan 93 10:52:05 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1993Jan25.011924.20693@nuscc.nus.sg> smoliar@iss.nus.sg (Stephen Smoliar) writes:
}>kos@cunyvms1.gc.cuny.edu (Bob Kosovsky) writes:
}>: In the New York Times of Friday, Jan. 22 (page. B3) was an article on
}>: how Boosey & Hawkes is suing Walt Disney Corp. for selling videocassettes
}>: of FANTASIA.  B & H claims that "Stravinsky never granted the right to
}>: use it [Rite of Spring] in any medium or by any other form of distribution."
}>
}>This story seems to have been important enough to have made THE STRAITS TIMES!
}>Unfortunately, the wording of the quote above would appear to also apply to the
}>records which Disney markets of the FANTASIA sound-track (which I seem to
}>recall buying in the late Fifties or early Sixties)?  Are Boosey and Hawkes
}>going to be able to now argue about video, having already given implicit
}>permission for audio marketing? 

Yes.  "Mechanical rights" for audio discs/tapes are different from
"syncronization rights" for motion pictures and video; video is
considered a distinct medium from motion pictures.  These
distinctions are not contractural, they are written into U.S.
copyright law.  (The retroactiveness of protection concerning the
invention of the newer technology was taken into consideration.)

Cheers,

--Mark Gresham
dscatl!mgresham@gatech.edu
=====
From: edente@pearl.tufts.edu
Newsgroups: rec.music.classical
Subject: Music <<NOT>> killed by movies
Date: 27 Jan 93 05:17:56 GMT
Organization: Tufts University - Medford, MA

A real rarity: A movie that is very nicely enhanced by the classical
music used in it, music that is integral to the movie and not window
dressing.  TRULY MADLY DEEPLY, a "small" British film about a pianist
getting along in life after her lover, a cellist, has died.  Mostly
Bach - the slow movement of the 7th harpsichord concerto, the one based
on the A minor violin concerto, and a number of other pieces, including
an odd, funny cello/piano/vocal version of the 1960s pop song "The
Sun Ain't Gonna Shine Anymore".    Very much worth seeing.
Ed Dente    
         
 v .