HDTenEightyP/NetNews huggingface dataset:
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical
Subject: Re: Ein Deutsches Requiem (was Re: Christa Ludwig)
Date: 23 Jul 92 16:41:20 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <1992Jul23.002021.25958@midway.uchicago.edu> gustavo@dent.uchicago.edu (Gustavo Comezana) writes:
>Speaking of Gardiner's recording... Am I perhaps the only person on
>the planet to find his version lacking in power? Quite frankly,

You're not the only one.  I read a pretty bad review of this recording in a
recent _Fanfare_.  I don't remember the tympani specifically mentioned, but
the reviewer did complain that the choral parts were thin and the notes
were cut too short.  It's about the only bad review of a Gardiner disc I
can remember reading.

For the record, I disagreed with the reviewer.  I'm one of the masses that
likes this recording.  I think it makes an excellent 2nd choice after the
Klemperer.  It's a *totally* different reading, but I find both of them
convincing.  It's almost like listening to two different pieces of music.
I have a hard time understanding how people can say that this disc (or
Gardiner performances in general) "lacks power".  The raw material might
seem lightweight, but I find his interpretation very dramatic, dynamic, and
rhythmic.  It's a different kind of power, I think.  This goes for just
about every Gardiner recording I hear.  He seems to have a fine sense of
balance and drama.

-chris
Newsgroups: rec.music.classical
From: lampson@tellabs.com (Dave Lampson)
Subject: Re: Villa-Lobos box set on EMI
Organization: Tellabs, Inc., IL
Date: Tue, 28 Jul 1992 22:45:06 GMT

In article <1992Jul24.184012.219321@cs.cmu.edu> acid+@cs.cmu.edu (Christopher Colby) writes:
>EMI France has reissued a 6-disc budget-priced set of Villa-Lobos
>conducting the Orchestre National de la Radiodiffusion Francaise in the
>following works:
>
>	The Discovery of Brazil
>	Bachianas Brasileiras 1-9 (complete)
>	Choros nos. 2, 5, 10, 11
>	Piano Concerto no. 5
>	Symphony no. 4
>	Momoprecoce for piano and orchestra
>	a few other small pieces
>
>Unfortunately, although most of the recordings were done between 1957 and
>1959, the whole set it in mono.
>
>I read a rave review of this set in a recent issue of _Fanfare_, and in
>fact it actually made the 1991 "Want List", so I decided to order.  


I too had read a couple of good reviews of this, but opun listening
to a couple of cuts, I found the playing to be pretty sloppy, and the 
sonics to be generally worse than the year would indicate.

I'll take this opportunity to plug a great new release of the piano 
concertos on London.  I can frequently take or leave Villa-Lobos, but
I was very impressed by this set.  It's a little much for one listening,
but there is a huge amount of good material here, and repeated listenings
are well rewarded.  Lovers of V-L's music, or modern piano concertos 
should check this out.

--------------------------------------------------------------------------------
VILLA-LOBOS            Concertos #1-5                                        DDD
Royal Philharmonic Orchestra                        GOMEZ-MARTINEZ, Miguel
Piano                        ORTIZ, Christina
London                                                430628-2       (2) 2:19:24
--------------------------------------------------------------------------------

Now, back to our regularly scheduled Yoder-bash.

-- 

Dave
lampson@tellabs.com

For detailed lists of Recommended Classical CDs, Basic Repertoire and Buying
Guide access cs.uwp.edu (131.210.1.4) by anonymous FTP, or email me for info.

Contribute to the rec.music.classical biography project!  Email me your bio!

Newsgroups: rec.music.classical
From: marcs@slc.com (Marc San Soucie)
Subject: Re: minimalism
Organization: Servio Corp, Beaverton Oregon, US
Distribution: na
Date: Fri, 24 Jul 1992 02:42:35 GMT

Roger Lustig (roger@phoenix.Princeton.EDU) writes:

> Marc San Soucie writes:

> >Dare I suggest that Glass is the Mozart/Haydn/Vivaldi of our time? Cranking 
> >out endless variations in a single style with little significant change? In 

> What does this have to do with Haydn or Mozart?  Do you note a "single
> style" or "little significant change" between Haydn't Op. 1 quartets and
> his Op.77? Or between his first and last symphonies?  Even Mozart, with
> his relatively short mature career (ca. 15 years), completely
> transformed the genres he worked in, such as comic opera and the piano
> concerto.

Sure, there are differences, and they are probably more significant than I
give them credit for, but I've never found the differences compelling
enough to overcome my frustration with the stylistic ornamentation. So
let's scratch Mozart and Haydn (though he did crank them out for a while
there), and just pick on poor old Antonio.


> >saying (if I recall 
> >correctly) that modern composers change their styles too much, and don't 
> >adequately work out their ideas over time.

> As for modern composers changing their styles, who might that be?

I'll have to paw through the book again and get back to you on that one. It 
seemed a little self-justificatory to me when I read it.


> >Any style will survive if the composer can make it interesting enough.

> Rephrase: "if enough people find it interesting."  Very often the
> things the composer finds most interesting are not those the audience
> picks up on.

I'll buy that.


    Marc San Soucie
    Portland, Oregon
    marcs@slc.com
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Mozart, c'est qui? [Re: minimalism]
Organization: Morgan Stanley & Co., New York, NY
Date: Wed, 22 Jul 1992 18:09:24 GMT

In article <14k3n6INNaul@agate.berkeley.edu> maverick@cs.berkeley.edu (Vance Maverick) writes:
>In article <1992Jul22.022007.26318@slc.com>, marcs@slc.com (Marc San Soucie) writes:
>|> 
>|> Dare I suggest that Glass is the Mozart/Haydn/Vivaldi of our time? Cranking 
>|> out endless variations in a single style with little significant change?
>
>In article <1992Jul22.040947.11617@fid.morgan.com>, steve@fid.morgan.com (Steve Apter) writes:
>|> 
>|> The music?  Keep it simple, stark, and ugly.  Wolpe, for example.  Or Mozart.
>
>Who next?  Frank Zappa?  Fiddlin' John Carson?  Richard Feynman?

Zappa-Carson-Feynman?  Is this one of those Zeitgeisty cross-disciplinary
connections you were babbling about, Vance?



Newsgroups: rec.music.classical
From: k22164@kyyppari.hkkk.fi (Mikko Reinikainen)
Subject: Re: Recommendation for Requiem music is needed.
Date: 30 Jul 92 13:38:42 GMT
Organization: Helsinki School of Economics, Finland

I beg your pardon! I meant to write Orlando di Lasso (Lassus) instead
of Palestrina in my previous note!
I am sorry for the confusion...

	Mikko R.

--
Mikko Reinikainen
k22164@kyyppari.hkkk.fi
Helsinki School Of Economics and Business Administration
Helsinki University/Faculty Of Law
Newsgroups: rec.music.classical
From: pierce@lanai.cs.ucla.edu (Brad Pierce)
Subject: rec.music.carmina.burana
Organization: UCLA, Computer Science Department
Date: Thu, 30 Jul 92 06:56:23 GMT

In article <1992Jul27.175450.16942@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:

>Q10. What is the history behind Orff's Carmina Burana?
>
>"Carmina Burana" was originally a cycle of medieval songs. The text is
>rather risque poetry written by medieval students.  Carl Orff adapted
>some of them into the best known arrangement, not surprisingly called
>"Carmina Burana," in the 1930s.  Of the songs he adapted, some are in
>Latin and some are in Middle High German (much as Chaucer's
>"Canterbury Tales" is in Middle English).  The best known of the songs
>he used is "Fortuna Imperatrix Mundi" (a.k.a. "O Fortuna"), which was
>heavily used in the film EXCALIBUR.

A complete answer to the question "what is the history behind Orff's
Carmina Burana" would put the composition itself (as opposed to its
sources) into historical perspective (e.g., was Orff a Nazi?) and
explain why such a vapid work has not faded into well-deserved
obscurity.

-- Brad Pierce --
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's violin concerto
Date: 29 Jul 92 21:51:58 GMT
Organization: School of Computer Science, Carnegie Mellon

I like the aforementioned Schneiderhan recording.  It's on CD along with
the two Romances.  I can't for the life of me remember who does the
Romances, but it's somebody *really* famous.  It's a budget DG disc -- an
excellent bargain, and perhaps worth getting just for the cadenzas.  In
answer to Jon's question, IMHO they work out pretty well.  There is one
cadenza per movement (there might be two in the last one), and they
definitely have their moments.  Furthermore, Schneiderhan's playing is
absolutely first rate.  Really, his is the most musical account of the last
movement I've heard.  I think Perlman makes more of the beautiful slow
movement, but Schneiderhan has a very nice tone, and his view of the piece
very much "works" for me.  Finally, the orchestral accompaniment is very
good.

The Romances are also excellent accounts, and make a generous coupling,
especially for such a cheap disc.

-chris
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Good version of 'The planets' by Holst?
Followup-To: rec.music.classical
Reply-To: dbrooks@osf.org (David Brooks)
Organization: Open Software Foundation
Date: Fri, 24 Jul 1992 00:54:08 GMT

Again I must put in a plug for Boult's 1979 recording, available on CD
Angel CDM 7 69045 2.  Although the attack is sometimes less than vital,
this performance has immense depth.  For me, Saturn is actually the
highlight.  If you like the idea of the recording being conducted by the
man who led the premiere, 60 years later, you'll love this.

Or you could say it took 60 years for him to get it right...

Other Holst in a similar vein (orchestral and big) is the Perfect Fool
ballet music.

And:

camg0370@uxa.cso.uiuc.edu (Christopher A. Morosin) writes:
>In addition to the use of the organ (which is shamefully ommited in several 
>recordings) the Davis recording uses a children's choir instead of a women's
>choir in Neptune, which adds a different quality to the work, and i THINK
>may be what is called for in the score, but I'm not sure about that.

Nope.  Holst knew, as did Debussy (Nocturnes) and Vaughan WIlliams
(Sinfonia Antarctica) of the power of wordless human voices to express,
ironically, the most non-human, remote, and ethereal of images.
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Six more months!  Six more months!
From: ucap22w@ucl.ac.uk (Martin S T Watts)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's violin concerto
Date: 29 Jul 92 17:23:02 GMT
Organization: Bloomsbury Computing Consortium

mehul@pdx212 (Mehul Dave) writes:

>3. Can you recommend any good CD recordings of this concerto?  I like
>   the one I have on cassette but I want to see if I can find a better
>   one.  I realize that different people have different idea of a
>   "good" recording but I'd like to get your opinion on your favorite
>   and what you like about it.

My preference for the Beethoven is Anne-Sophie Mutter's recording with the
Berlin Philharmonic and Karajan, though I find recordings of violin concertos
in general to be very much a matter of personal taste, more so than most genres.
I like it because her style matches very well that of her accompaniment, in 
what I feel to be very much a concerto for violin AND orchestra (as opposed to
a concerto for violin AGAINST orchestra, as the Brahms VC has been famously
described), because her technique is very solid, and because she displays
consistent good 'taste' throughout. It may also have something to do with the
fact that I first heard a live performance of this concerto with her as the
soloist, with the Halle Orchestra, back in the early 1980s. Mutter's tempi
are pretty relaxed compared with Schneiderhan's, and I prefer them. I tend
to find Schneiderhan rather difficult to enjoy in general - he's just a bit
too flashy, and nervous-sounding and I tend to find his 'cadenzarettes' in 
the last movement a bit OTT. I just say this for a comparison - it depends
on what you're used to; you may well fall asleep in the Mutter recording.
I often find myself in a trance, though, which is different.

I would recommend, though, unless you've money to burn, that you try and
listen to a few before you splash out. I wasted quite a bit on CDs of the
Brahms on other people's recommendations, but I still go back to my battered
old Perlman LP. I'm still intrigued by Mutter's recording of this concerto,
though - does anybody have an opinion?

Cheers,

Martin Watts.
Newsgroups: rec.music.classical
From: carnes@sparky.eecs.umich.edu (Richard Carnes)
Subject: Re: Beethoven 4-hands works (was Re: Beethoven Opus & Woo)
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Fri, 24 Jul 1992 16:29:35 GMT

Erratum: 

>Speaking of variations, if I've counted correctly Beethoven wrote at
>least 55 independent sets, not counting those forming a part of larger
>works.  

He wrote ~45 known sets (if we count opp. 105 and 107 as 16), not 55.

Generally speaking, the works with opus numbers are those that
Beethoven regarded as more significant.  E.g., he apparently set great
store by the two sets opp. 34 and 35; these are counterparts to the
three sonatas op. 31, and written in the same year, 1802.

The 32 Variations in C Minor, WoO 80, are popular with pianists
(they're great for pumping ivory, i.e., as technical studies), but I
think Beethoven said some disparaging things about the set.  It's
atypical for Beethoven, being really a passacaglia.  I wonder if he
knew Bach's organ Passacaglia in the same key.  
Newsgroups: rec.music.classical
From: mehul@pdx212 (Mehul Dave)
Subject: Beethoven's violin concerto
Organization: Intel Corp., Hillsboro, Oregon
Date: Wed, 29 Jul 1992 07:07:55 GMT

Hi,

I just started reading this newsgroup and have found that many people
seem to know a whole lot about classical music so this may be a good
place to ask this question.  I recently heard a cassette recording of
Beethoven's concerto for Violin and Orchestra in D major Op.61.  The
violinist was Wolfgang Schneiderhan and the orchestra was Berlin
Philharmonic conducted by Eugene Jochum.  I have a few questions about
this concerto

1. Is this the only violin concerto Beethoven wrote?  I ask this
   because it did not say Violin concerto number 1 or 2 etc.

2. In the cassette flap, I found the following:

   "Cadenzas adapted for the violin by Wolfgang Schneiderhan from those
    Beethoven composed for his arrangement of this concerto for piano
    and orchestra".

  Did Beethoven intend this concerto to be played on piano?  I must
  admit, to me the violin seemed perfect but then I haven't heard it on
  piano.

3. Can you recommend any good CD recordings of this concerto?  I like
   the one I have on cassette but I want to see if I can find a better
   one.  I realize that different people have different idea of a
   "good" recording but I'd like to get your opinion on your favorite
   and what you like about it.

Thanks.

--Mehul Dave--
(mehul@ichips.intel.com)
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Newsgroups: rec.music.classical
Subject: Henze's film scores
Date: 23 Jul 92 13:02:15 GMT
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036

Thanks to Hector Bellmann I must correct myself.  Hans Werner Henze DID
composer more than a single score.  I make no claims to completeness,
nor can I say whether the films below hired Henze to write original music,
or whether they utilized pre-existing music, but here's a listing of
what I could find of the film scores of Henze:

	1964	Muriel
	1966	The Young Toerless
	1975	The Lost Honor of Katharine Blum
	1978	The Good-for-Nothing
	????	Swann in Love

Apologies for having posted incorrect information.


Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
Newsgroups: rec.music.classical
From: lampson@tellabs.com (Dave Lampson)
Subject: Re: 20th c. "teaching pieces" for piano
Organization: Tellabs, Inc., IL
Date: Tue, 28 Jul 1992 22:58:34 GMT

In article <1992Jul27.074943.8819@bsu-ucs.uucp> 00hfstahlke@bsu-ucs.uucp writes:
>[...] After thirty years away from it, I've gotten back to
>piano-playing, much more for the pleasure of it than when I was a teenager. 
>I've been looking around for twentieth-century counterparts to the "teaching
>pieces of the eighteenth and nineteenth centuries, things like Bach's Two and
>Three-part Inventions or the sonatinas of Kuhlau, Reinecke, Spindler, and the
>like. [...]


Miaskovsky wrote his last 3 sonatas (#7-9) as easier student-type pieces, 
but I don't know if they are available from a publisher.  Shostakovich 
wrote seven pieces entitled "Children's Notebook" Op. 69, and, of course,
Tchaikovsky's "Children's Album" Op. 39.

It seems that Russian composers were really into this type of thing.  (:-)

-- 

Dave
lampson@tellabs.com

For detailed lists of Recommended Classical CDs, Basic Repertoire and Buying
Guide access cs.uwp.edu (131.210.1.4) by anonymous FTP, or email me for info.

Contribute to the rec.music.classical biography project!  Email me your bio!
From: vnguyen@husc8.UUCP (Vinh Nguyen)
Newsgroups: rec.music.classical
Subject: Re: Met's Semiramide
Date: 28 Jul 92 04:51:21 GMT
Originator: vnguyen@husc8.harvard.edu

From article <92209.163048KSSHC@CUNYVM.BITNET>, 
	by Ken Sherrill <KSSHC@CUNYVM.BITNET>:
> The final three performances of Semiramide at the Met will be with Lella Cuber-
> li, Marylin Horne, Stanford Olsen, and Simone Alaimo. The broadcast is one of
> three performances. The first six are with a mystery soprano, Gloria Scalchi,
> Frank Lopardo and Barseg Tumanyen. Ramey is scheduled for none of the perform-

Oh, so Cuberli gets the radio broadcast AGAIN?  Ah, what a loss not to have
Ramey's Assur.

> ances. After all these years, I was beginning to think that Ramey and Joseph
> Rouleau were the only two bassos who knew the part. Apparently Jan-Hendrik Root
> ering will be on the recording with Cheryl Studer. I expect Studer will be the
> great Semiramide of our time, but I doubt that she'll be doing the part in New
> York this year.

Oh my god, Studer again!  [:-)]

Now if indeed she could deliver on Semiramide then I'll be a convert.
Gee, does she (or do the record companies want to make her) want to
outdo La Stupenda in so short a time.  How many recording projects
are lined up for Studer so far?  Well, so Mr. Conrad will have to pardon
my calling her "La Studer" now!  [:-)]  (By the way, welcome back
from your two-week vacation!)

Vinh Nguyen
From: mu299af@sdcc3.ucsd.edu (G. Y.)
Newsgroups: rec.music.classical
Subject: Wagner's Ring: audio/video recordings
Keywords: Ring
Date: 22 Jul 92 08:25:59 GMT

I have read many very interesting postings about ring on the net.  I
wonder beside Solti, Bohm, Furtwangler's audio recordings which I
have collected, any other recommandations?  I also have Boulez video
recording of Ring and seen some part of Levine's, any comments and
suggestions between these two?  How about any other Video recordings
of Ring?

Gary

Newsgroups: rec.music.classical
From: tsai@tecrus.enet.dec.com (Kuo-Yeang Tsai)
Subject: Question about "Carmina Burana"
Organization: Digital Equipment Corporation
Date: Thu, 23 Jul 1992 22:42:55 GMT



I am going to attend the "Carmina Burana" concert at Tanglewood this
coming Augst 8th and I have a question which has been on my mind for
a long time.

Why does it (Carmina Burana) sound demoniac? 

Even without reading the somewhat offensive lyrics, friend asked
"Is this Satan-worshipping music?" upon hearing the first few 
passages.

Thanks in advance for your answer!
kyt
Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Need name of guitar composer/performer
Date: Thu, 30 Jul 92 18:10:31 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <1992Jul29.032548.28940@cs.rochester.edu> steyn@cs.rochester.edu (Gavin Steyn) writes:
>In article <CB.92Jul28161728@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>>I heard something good by (I think) two guitarists.  One of them was
>>also the composer of the pieces I heard.  First name is Sergio.  Second
>>and third names, in phonetic form, are something like o-dair ah-sah.
>>Any information on him would be appreciated.
>
>The names are Sergio and Odair Asad (They're brothers or cousins, can't 
>remember which).  They're very good at doing South American classical 
>guitar music.  
>  I don't the name of the piece you're thinking of, but as far as I know they
>have very few albums out, so you proabably won't have to look that far.


And the piece might be by the Brasilian composer Rademus Gnatali[I can't 
remember the exact spelling, pardon me].  I played a concerto that he wrote
for them while I was working in Rio back in 1978.  Very pretty stuff.

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Trio
Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: Liverpool Oratorio - McCartney & Davis
Organization: University of Western Australia
Date: Thu, 23 Jul 1992 03:34:37 GMT

I have an LP from the 50's with a David Stone Martin cover called
"Moore's Music" that has Calvin Jackson playing Moore's Concerto for
Piano and Orchestra, and it would be hard to pick which side the
composer came from. It is very subtle in parts, half Bartok and half
Gershwin, but NOT derivative. The only work it actually sounds like is
William Alwyns 4th Symphony, and that was written later.

I know absolutely nothing about the piece or the composer, and the liner
notes (which are hip and cool) suggest this is a grave admission on my
part.

Does anyone else?
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Good version of 'The planets' by Holst?
Followup-To: rec.music.classical
Reply-To: dbrooks@osf.org (David Brooks)
Organization: Open Software Foundation
Date: Sat, 25 Jul 1992 04:45:02 GMT

brad@buck.viewlogic.com (Bradford Kellogg) writes:
>In the interest of causing you severe mental indigestion, I would recommend
>a performance conducted by Stokowski, if you can find one. I have one that 
>is perhaps 15 years old (sorry, I don't recall the orchestra), and it is an 
>example of where Stokowski was at his best. I believe he did not mess with 
>the score on this occasion, which he often showed an alarming inclination 
>to do...

Interesting; my first Planets LP, about 30 years old, had Stokowski (most
notably):

- adding a tamtam roll, crescendo, through the last page of Mars
- cutting some measures of Uranus (actually, they could do with being cut:-)
- holding the last chord of Uranus

and a few smaller tricks.  He seemed to have mended his ways.
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Six more months!  Six more months!
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Science Fiction Operas Wanted
Organization: Camex Inc., Boston MA
Date: Fri, 24 Jul 1992 14:01:39 EDT

In article <1992Jul10.174614.15532@cbnewsj.cb.att.com>
ecl@cbnewsj.cb.att.com (Evelyn C. Leeper) writes:

>  So I'd like to tap the
>collective r.m.c brain for the names of science fiction operas, or
>operas with science fictional themes.

How about Janacek's "Excursions of Mr. Broucek?"  Or for that matter,
even more to the point, "Makropoulos Case."  Both of these are very
much in the style of early science fiction, say from the 20s and 30s.
And the author of the play from which Makropoulos Case is taken
coined the term robot.  Or invented the idea.  I forget which.  This
is the kind of thing I would normally look up before saying something
silly or inaccurate, but today is not normal, so there you are.

>  I *believe* they want strictly
>SF, not fantasy, which eliminates Wagner.

I'm tempted, but I'll just leave this one alone.  %^)

Chris Ischay
chrisi@camex.com
(note: my address has changed)