HDTenEightyP/NetNews huggingface dataset:
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Re: Britten
Date: 7 Apr 92 14:40:41 GMT
Organization: University of Delaware

In article <1992Mar30.044043.10790@timessqr.gc.cuny.edu> kos@cunyvms1.gc.cuny.edu writes:

>Though I generally
>like Britten's music, my interest centers on his film music (especially his
>film NIGHTMAIL).

Which I'm not familiar with, but I'll try to answer your question
anyway.

>One particular aspect of Britten in the 1930s that interests me is his 
>attempts to simulate sounds.  

>Jon (or others), do you know of other such passages in the music of Britten?

Well, for use of non-standard (even non-musical) sounds in an orchestral
context, only a few examples come to mind.  He asked for a cowhorn (the
Alpine kind) in the Spring Symphony.  There are several homemade
instruments in Noyes Fludde, of which the most memorable is "slung mugs"
(mugs of various sizes suspended on string to make a rough kind of
scale, to be struck with mallets to represent the sound of rain).

For his simulation of sounds using instruments (and voices), there are a
great many examples, of which I'll offer only the ones that jump to
mind.

His string-orchestra writing often asks string instruments to sound like
other kinds of instruments.  The Frank Bridge Variations, for instance,
use the various string groups in trumpetlike figures at the start, and
the first violins as a "Rossini soprano" in the Rossini aria later on.

The a capella choral piece Hymn to St. Cecilia has one section in which
instruments are imitated by a soloist from each section.  The soprano is
a flute, the alto a violin (across the open strings), the tenor a
trumpet (bugle call in B flat), the bass a drum.

An especially rich storehouse of such devices is the song cycle Winter
Words, to texts by Thomas Hardy.  In one song the piano imitates
birdsong.  In another, a village organ playing a hymn.  In the most
remarkable instance, it gives the perceived pitch-shift (is Doppler
effect the right term?) of a train whistle heard moving at a distance;
the pianist plays one chord, while depressing another (a half step
lower) silently...the lower chord gradually becomes audible as the
higher one dies away.

There are undoubtedly many more examples.  Those are all I can summon up
in my limited time right now.

Jon Alan Conrad
Newsgroups: rec.music.classical
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: _The Love for Three Oranges_
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Date: Wed, 15 Apr 1992 18:18:18 GMT

In article <28909@brahms.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <1992Apr13.190027.595@Princeton.EDU>
 roger@phoenix.Princeton.EDU (Roger Lustig) writes:

>>Now: "Crazy Like a Fox": there's an obvious one, and a tougher one
>>(connected to the Broadway theater).  Can anyone get both?

>Both John Rubinstein, right?  The familial connection to Artur, and his
>own history as a stage actor which includes creating the title role in
>Stephen Schwartz's PIPPIN (1972).  For that matter, he's composed a
>number of tv and movie scores himself.  And if you want a "classical"
>music connection, he spent some time (during which I saw him) in the
>Broadway production of M. BUTTERFLY, with the obvious Puccini
>connection.

OOOH!  Nice cook, as they say in chess.

Actually, I was looking for another FILIAL connection, but I'll give it
away since it's a bit obscure.

The theme music to ClaF is by Ron Ramin, son of famed Broadway
orchestrator Sid Ramin.  Ramin Jr. has done several TV shows, I believe,
all of which use similar harmonic progressions.  Around the house, the
show used to be known as Circle like a Fifth.

Roger
From: hapke@urbana.mcd.mot.com (Warren Hapke)
Newsgroups: rec.music.classical
Subject: Re: Mahler Orchesterlied
Date: 16 Apr 92 20:14:11 GMT
Distribution: na
Organization: Motorola Computer Group, Urbana Design Center

In article <1992Apr13.194224.29447@cunixf.cc.columbia.edu> km34@cunixf.cc.columbia.edu (Keith Moulton) writes:
>Does anyone know if there is a complete collection of Mahler orchestral
>songs on compact disc?
>
>Thanks

I don't know of any complete collection of the Mahler lieder on CD.  There's a
2-CD bargain-priced set ($14 locally) on EMI (CZS 7 62707 2) that comes close
to being complete.  It contains:

  Das Lied von der Erde
        Murray Dickie, Dietrich Fischer-Dieskau; Paul Kletzki, cond.

  Lieder eines fahrenden Gesellen
      Janet Baker; John Barbirolli, cond.

  Kindertotenlieder
      Janet Baker; John Barbirolli, cond.

  5 Rueckert Lieder 	
      Janet Baker; John Barbirolli, cond.

  Des Knabens Wunderhorn (excerpts):
   Revelge, Wer hat dies Liedlein erdacht, Der Tambourg'sell, Des Antonius von
   Padua Fischpredigt, Wo die schoenen Trompeten blasen
      Lucia Popp, Bernd Weikl; Klaus Tennstedt, cond.

The set comes with sketchy liner notes (nothing about the Rueckert Lieder),
but no texts or translations.

Warren Hapke, Motorola MCG Urbana Design Center
  hapke@urbana.mcd.mot.com  ...!uiucuxc!udc!hapke
From: dcook@spam.ua.oz (David Cook)
Newsgroups: rec.music.classical
Subject: Re: Sorry State of Classical Radio
Date: 8 Apr 92 06:39:54 GMT
Organization: Statistics, Pure & Applied Mathematics, University of Adelaide

In article <W6BP702095761@um.cc.umich.edu> Allan.Bjorklund@um.cc.umich.edu writes:
>In article  <CB.92Mar31100444@tamarack12.timbuk>
>,  cb@tamarack12.timbuk (Chris Brewster) writes:
>>Paul Homchick writes:
>>
>>   ... several (many?) NPR affiliates have moved to an all-news format 
>>   in the past few years. ...
>>
>Here in south east Michigan, I listen to a commercial classical station.
>WQRS 105.1 (out of Detroit).  I started to listen to them almost exclusivly
>about a year and a half ago.  The majority of the public radio stations
>around here are jazz and news (not to say that jazz is bad) and the two that
>still do classical are minimizing it in favor of more news and alternative
>music formats.  Also their classical formats are getting quite stale.
> 
>I find WQRS (despite the ads) to be a much better alternative.  They have
>a lively format and play a wider varity than their public counterparts.
>

I must say, I am _very_ glad that I live in Adelaide (anywhere in
Australia, in fact). We are have a government run nationwide classical 
radio station (ABC-FM, where ABC stands for Australian Broadcasting 
Commission (or is it Corporation ? :). They plays about 85-90% classical 
music, and they appear to be unafraid to play _anything_ (the other 15% or 
so is mainly jazz, and occasional plays). They also support Australias
symphony orchestras, with regular broadcasts of live concerts, as
well as sponsorship. 

Oh yes - the best thing is, no ads !

(There is another network run by the ABC, called JJJ - again, 
nationwide, and not afraid to be a bit different - plays mostly
alternative music, including rap, heavy metal, and many 
Australian bands.)

I suspect that not many places in the US have the same range of 
music available on the radio - maybe we are the lucky country :-)
(want to buy a Prime Minister ? Only slightly used, and going cheap :-)
From: peter@zone4.ocunix.on.ca (Peter Dubiel)
Newsgroups: rec.music.classical
Distribution: world
Subject: Unaccompanied violins.
Organization: Zone4
Date: Sun, 12 Apr 92 07:25:20 GMT

I know that there is plenty of great violin music available, but all that I
have heard so far are accompanied by orchestras. That is fine for most of
the time, but I was watching television the other night, and on whatever
program I was watching, the soundtrack consisted of a singular violin 
played without any other accompaniment.

It was some of the most moving music I have ever heard. I didn't know a
violin sounded so wistful and melancholy until I heard it all by itself. Are
there any decent CD's anyone could recomment of >JUST< violin music,
sans orchestra? 

Please E-mail me, I don't get to read this newsgroup very often, and when
I do, there's a lot of volume to wade through, so I might miss any followup
posts...


  //  .o      /~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~\
 <Oo>    O _ { Piotr F. Dubiel ->- peter@zone4.ocunix.on.ca ->- Nothing =/= 0  }
   _       (_) \_______________________________________________________________/


From: alansp@hpcc01.corp.hp.com (Alan Spence)
Date: Tue, 14 Apr 1992 15:54:51 GMT
Subject: Re: Brahms performances
Organization: the HP Corporate notes server
Newsgroups: rec.music.classical



     For the Brahms 3rd Symphony, I am partial to George Szell's
     recording with the Cleveland Orchestra.  They play with greater
     precision than the Columbia Symphony, and I think that Szell makes
     this pay off with more power in the climaxes, especially in the
     4th movement.  And surprisingly, Szell finds a lyrical magic in
     the closing pages that (if memory serves me) eludes Walter.

     The recording quality is typical mid-60's CBS.  Though it falls
     short of today's best practice, it's still OK.  In so far as the
     ability to hear details is a function of the orchestral balance
     obtained by the performers, I think Szell and Cleveland do very
     well.

Newsgroups: rec.music.classical
From: librdb@gsusgi2.gsu.edu (Roy D. Berridge)
Subject: Music in Silence of the Lambs
Organization: Georgia State University
Date: Mon, 13 Apr 1992 17:19:12 GMT

 The music used in this scene is from "The Goldberg Variations" by		 J.S. Bach.  The aria is played while Dr. Lecter is being handcuffed		 to the bars.  Later, as he stands over the body of the murdered guard,		 Variation #7 is played.
From: vance@speech.sri.com (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Sorry state of classical music [was Re: FCC Deregulation?]
Date: 7 Apr 92 21:22:35 GMT
Article-I.D.: kyoto.VANCE.92Apr7142235
	<1992Mar29.132219.479@cgh.cgh.com>
	<salem.701935471@pangea.Stanford.EDU>
	<1992Apr6.050909.3446@cgh.cgh.com>
	<VANCE.92Apr6095204@kyoto.speech.sri.com>
	<LEE.92Apr7143234@meercat.wang.com>
Organization: Speech recognition group, SRI
In-reply-to: lee@wang.com's message of 7 Apr 92 18:32:34 GMT


Lee Story writes:
>	[Paul Homchick:] 
> 	  For the last thirty years or so, academic music departments
> 	  have been preoccupied with serialism.  This can't have helped the
> 	  long-term popularity of classical music in our culture.  I hope that
> 	  emphasis is shifting, because in the long run, the battle lies with
> 	  the young, and in the schools.
>   [Me:]
>    This is really orthogonal to the issue you're worrying about.  The
>    teachers who have the chance to instill a love of classical music in
>    schoolchildren aren't coming from Ivy-league graduate programs in
>    composition.
> 
> Well, the Ivy League music departments may be orthogonal to pop music,

I really meant that "serialism" and "music appreciation" haven't
talked much, within the academy; the people Paul wants to rely on to
bring Beethoven to the kids aren't exactly the apostles of Ferneyhough.

> but serial music is just as interesting as the Eagles or Pretenders or
> whatever.

To whom?  To me, for sure, if you pick the right serial music, but
whom did you mean?

> Why should the academics change their craft to attract a
> wider audience, when there are obvious alternatives:  convince the
> business interests (where "pop" originates) to promote serialism or
> whatever as the new pop culture, or be content with their exclusive
> little audience of cognoscenti.

Well, Paul was worrying (I think) about getting Hammer's audience to
listen to the _Hammerklavier_; but the first wider audience for the
academics to get to (should they choose to accept it) is the existing
"classical music" audience, which won't at this point give them the
time of day.

As Charles Rosen points out somewhere, a style, with sufficient
distance, becomes a work of art.  The core repertory of the classical
performing world has definitely reached this point.  The people who
want to listen to Haydn are looking for something a living composer,
serial, minimalist, or what have you, *cannot* supply, except in thin
and unconvincing pastiche, like the feeble Elgar/Sibelius strain
that's been seeping into John Adams' music in the last few years.
Going to the symphony these days is very much like going to the
Louvre: not much connection with what any living painter might do.

I respectfully decline your invitation to get into the debate about
what makes "classical" music classical.  :-)

	Vance
Newsgroups: rec.music.classical
From: spg@Xenon.Stanford.EDU (Stephen P. Guthrie)
Subject: Re: Sibelius Violin Concerto
Organization: Computer Science Department, Stanford University.
Date: Tue, 7 Apr 1992 03:43:58 GMT

In article <1992Apr7.020718.15812%mr804321@cs.nthu.edu.tw> mr804321@cs.nthu.edu.tw (mr80) writes:
>  I like Sibelius violin concerto and I wonder why
>Tchaikovsky violin is one of the 4 greatest violin concertos.
>I use Sibelus violin concerto to replace it.
>                                        Wen.

It's ok. We'll let you listen to both.
From: alcedo@nlsca.uucp (Alcedo Coenen)
Newsgroups: rec.music.classical
Subject: Re: Stockhausen at the Emperor's Court
Date: 6 Apr 92 07:55:35 GMT
Organization: Sweelinck Conservatorium

Jerry Kohl writes:

>"Der Jahreslauf" is a scene from the opera _Dienstag_
>aus_Licht_, which is being given it's first complete performance (in a
>concert version) in Lisbon next month.  


Another performance (also "quasi-concertant") will be in Amsterdam
on June 25 in the "Muziektheater".

Alcedo Coenen
alcedo@nlsca.uucp
Newsgroups: rec.music.classical
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: a question about modes
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Date: Fri, 10 Apr 1992 14:49:09 GMT

In article <1992Apr10.140949.16139@gould.encore.com> 
bseymour@encore.com (Burch Seymour) writes:
>
>I'm unclear on a technical point here, perhaps someone can enlighten me.
>My choir is doing a piece keyed with 5 flats, this would normally
>be D-flat Major or B-flat Minor. However, this one is based on a 
>really old tune, and the notes start and end on F. This is a major
>third above D-flat, thus the notation printed on the music which
>calls it a phrygian mode tune (or something like that, I don't have
>it right in front of me). 

>My technical question, should you decide to play, is: How does one
>name that "key". Is it D-flat, phrgian mode? Just phrygian mode, and
>the "key" isn't mentioned? or What?

I'd probably just refer to it as F-Phrygian.  This is by analogy to the
G-Dorian transposition, which you find in chant books all the time.  You
could also say "Phrygian, final on F" or something.

>On a similar note (ha ha) could one call B-flat minor, D-flat, aeolian
>mode? 

Perhaps, but one wouldn't enjoy it.  

Actually, the answer is "no," because calling it Db is to privilege that
pitch, or to describe the pitch as being privileged (or prioritized in
some special way) in the music.  When we use a pitch-class to describe a
mode, we use the "final" of the mode, i.e., the one we expect to end on.
(Some chants do not end on their finals...)

To look at it another way, there's nothing special about "major mode"
that makes IT prior to other modes with thesame key signature.  In fact,
the practice of using one standard key sig for a given key is pretty
new: only around 1750 do you get real standardization.  Before then, you
often found pieces with one fewer flat than you might expect, and
rarely one fewer sharp (esp. for pieces in B, themselves rare).  e.g., G
minor with one flat was *quite* common.  Bach and Handel did this at
times, probably in a sort of unconscious hangover from modal thinking,
not that these pieces *sound* any different from other minor-mode pieces,
most of the time.      

>Generically speaking, how does one notate the relation of key and mode
>in a modal piece?

Final and mode.  "Key" is a new invention, about 300 years old.

Roger
From: k9910vz00467@public.BTR.COM (Ashar Nisar)
Newsgroups: rec.music.classical
Subject: test
Date: 6 Apr 92 08:39:12 GMT
Distribution: na
Organization: Access UNIX,Inc.

this is a test.
 test.
From: c60c-4bl@web-4b.berkeley.edu (Demian)
Newsgroups: rec.music.classical
Subject: Stravinsky and Prokofiev
Date: 9 Apr 92 03:06:53 GMT
Article-I.D.: agate.s0ccdINNptv
Organization: University of California, Berkeley
NNTP-Posting-Host: web-4b.berkeley.edu
Originator: c60c-4bl@web-4b.berkeley.edu


Hi, I'd like some recommendations and comments about recordings of Stravinsky's
Rite of Spring and Prokofiev's two sonatas for piano and violin.  I have
the CBS Masterworks recording of Rite of Springs conducted by the composer,
but I'd like to buy another recording.  So far, I've been looking at
two Monteux recordings, one on Pearl(1926?) and one on RCA(mono too???).
Also on the list is Markevitch's recording with the Suisse Romande Orchestra.
I haven't listened to any of these (yet).  I'd like comments on these or
suggestions of other recordings, preferably stereo.  
As for the Prokofiev, there doesn't seem to be many recordings of the 
sonatas out in the CD market.  Any suggestions for these pieces?
Thanks in advance.  Appreciated.

-Demian
Newsgroups: rec.music.classical
From: smoliar@hilbert.iss.nus.sg (stephen smoliar)
Subject: Re: Kurt Weill's "Street Scene" on London
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Distribution: na
Date: Fri, 17 Apr 1992 01:56:56 GMT

In article <1992Apr14.230802.16787@cbnewsm.cb.att.com> mls@cbnewsm.cb.att.com
(mike.siemon) writes:
>In article <18748@ravel.udel.edu>, conrad@ravel.udel.edu (Jon Conrad) writes:
>
>	<laudatory things about _Street Scene_>
>
>well, Jon's opinion strikes me as something worth setting against my
>impression of the City Opera production I saw (perhaps the "flatness"
>was not the fault of Weill or his book -- certainly a hypothesis I am
>willing to entertain about C.O.).

I am certainly willing to entertain the hypothesis that City Opera can
cultivate a poor opinion of a good piece of work.  However, I have had
exposure to a variety of post-Brecht Weill pieces;  and none of them have
done very much for me.  When text is involved, it always seems to come across
like a piece of cardboard.  Mind you, most of Brecht is cardboard, too;  but
he always seemed to be more imaginative in what he scrawled on it.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
From: hilary.miller@execnet.com (hilary miller)
Newsgroups: rec.music.classical
Subject: cheryl studer was re:
Date: 8 Apr 92 13:04:43 GMT
Reply-To: "hilary miller" <hilary.miller@execnet.com>
Distribution: rec
Organization: Executive Networks Information


Chris Ischay, in a message to All on 04-07-92 at 1:28am, said:

CI/3I wonder whether you would put folks like Aprile Millo and June Anderson 
   3the same category.  I find Aprile Millo at times very moving.  I'm thinki
   3particularly of Aida and Maddalena in Andrea Chenier, in which she tore u
   3the place.
   TMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM>

               We heard her sing Liu at the Met a couple of years
               ago, and she was absolutely stunning.  Brought the
               house down.  She has a great deal of talent and
               will only improve with further experience.


   L A
 I    R        Hilary B. Miller of Greenwich, Connecticut
  H/\Y         CIS: 76040,1743
   s r
---
 ~ DeLuxe} 1.21 #11645 ~ Politically incorrect and proud of it.
--
Executive Network Information System   (914) 667-4567
International ILink Host
Xref: sparky rec.music.classical:5942 comp.music:2451
From: mikulska@astro.Princeton.EDU (Margaret Mikulska)
Newsgroups: rec.music.classical,comp.music
Subject: Re: Help, which instrument?
Date: 15 Apr 92 21:57:46 GMT
Organization: Princeton University
Originator: news@ernie.Princeton.EDU

In article <1992Apr15.053153.8791@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:
>In article <1992Apr15.030528.22310@cunixf.cc.columbia.edu> hyx1@cunixa.cc.columbia.edu (Harry Y Xu) writes:
>>Hi,
>>	I plan to put up an effort to learn an instrument over the Summer.
>>I just want to entain my ear (amongst other body parts); just want to learn
>>an easy-to-pick-up instrument.
>
>>PS.	I sort of like woodwind and brass, but not sure.
>
>Recorder, then.  Cheap, most of the music isn't too hairy, and you can
>carry it around with you.
>
>>	I have no musical potential/intellence.
>
>DEFINITELY recorder.  8-)


Too heavy to pick up.  I suggest a tin whistle.

Especially for people with no "musical intellence[sic]".


-Margaret
From: splin@cauchy.usc.edu (Sen-Pin Lin)
Newsgroups: rec.music.classical
Subject: Re: WHERE to find NAXOS CDs? (was cds from NAXOS ???)
Date: 12 Apr 1992 12:18:35 -0700
Organization: University of Southern California, Los Angeles, CA
Distribution: usa
NNTP-Posting-Host: cauchy.usc.edu
Keywords: classical,cd

tom@capalo (Thomas Cheung) writes:

>Anyone out there has listen to classical cds from
>the label NAXOS, I am curious to find out their 
>recording and artistic qualities. Any comments welcome!

On a relavent note, where can I find them? In my local CD stores (LA area),
I can only find a few titles in Tower. Most of them belong to the
basic repertoire that I already have some other versions.

I have read several favorable reviews about their Haydn Qts., especially
Op.76, performed by Kodaly Qt. But I tried in vain in search of them here.
Can someone tell me where can I find a store that carries most of their catalog
in LA area, or mail order place. Thanks in advance.

Ben

From: zornow@hpcc01.corp.hp.com (Claudia Zornow)
Date: Fri, 10 Apr 1992 16:06:30 GMT
Subject: Re: Cor ANGLIAS or ANGL'E
Organization: HP SSD R & D
Newsgroups: rec.music.classical

hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:

> Let's not forget that the EH is pitched a fifth lower than the oboe but is
> lacking a fingered low Bb[the oboe's lowest note] and so only goes down to a
> fingered B[that is to say the E below middle C].  

Now that's interesting.  In the clarinet, saxophone, and flute families
you get extra low notes on the lower instruments:

   Clarinet:  Bass clarinet adds low [written] Eb, and sometimes D, Db, and C.
   Flute:     Flute adds low C and sometimes B (piccolo only goes down to Db).
   Saxophone: Baritone sax sometimes adds low A.

English horn players should arise - you're being cheated!

Claudia
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Rosemary/The FBI
Date: 15 Apr 92 01:32:14 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

Glenn Gould did a review of the Rosemary Brown album for High Fidelity when the
album first appeared. He referred to her spiritual "creations" as "Rosemary's
babies".

Regarding this business about the March from Prokofieff's 3 Oranges being used
for the FBI, was this the TV show? I really doubt it, I recall the main theme
for that was done by Bronislau Kaper. I think the March was used for a radio
show called The FBI in Peace and War (which was a bit before my time).
--
-----------------------------------------------------------------------------
If you're going to reply in E-mail, please don't quote my whole message back to me -- it costs me money!!! (so does this extra line)
Mike Quigley, Vancouver, B.C., Canada             Mike_Quigley@mindlink.bc.ca