HDTenEightyP/NetNews huggingface dataset:
From: icking@gmd.de (Werner Icking)
Newsgroups: rec.music.classical
Subject: Re: Any illustrasted books about Stradivarius or Guarnerius Violins?
Date: 9 Nov 92 10:06:57 GMT
Organization: GMD, Sankt Augustin, Germany

In <icking.720718822@gmd.de> icking@gmd.de (Werner Icking) writes:

>In <72020@hydra.gatech.EDU> gt5571d@prism.gatech.EDU (AB RAHIM,HARMAN SHAM) writes:
>>	I'm wondering if there any illustrated books about these legendary
>>violins.  What I mean is, this book should have details and pictures of each
>>Stradivarius or Guarnerius violin.  If you ever discovered one, please e-mail
>>me the title and the author of the book.

>There are more than one; one I can tell you about is:

>Hamma, Walter: Meister italienischer Geigenbaukunst. Italian
>[...]

>I'll send the title of another book with color-pictures in the next days.

Here it is:

Karel Jalovec, Die schoensten italienischen Geigen, Verlag Werner Dausien
               Hanau Main, 1963

An older book without ISBN; may be it's out of print; just now I cannot
access out VLB (=BIP). It shows 45 Violins, front, back & one side plus
the "Zettel". All photos are color photos.
--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
From: al@sys6626.bison.mb.ca (haus der luge)
Newsgroups: rec.music.classical
Subject: STRAVINSKY
Date: Fri, 06 Nov 92 09:28:38 CST
Organization: System 6626 BBS, Winnipeg Manitoba Canada

 
I recall somebody here mentioning that they have a copy of the 'RITE OF 
SPRING' for ONE piano.
 
I was extremely skeptical about how the TWO piano version (scored by 
Stravinsky himself) would sound ... but it's fantastic and renewed my 
faith in the sheer power that can come from just two instruments.
 
Now I'm extremely skeptical in regards to a ONE piano version.  Who 
scored this?  Is it still mostly faithful to the orchestral version???
 
I would rank this as one of the best works of all time.  I hope that 
nobody has done it any injustice (some of you may remember my terrible 
experience with alternate versions of THE FIREBIRD).
 
HausDerLuge
Newsgroups: rec.music.classical
From: bryan@netcom.com (Bryan Higgins)
Subject: Re: KDFC - a question.
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Distribution: usa
Date: Thu, 12 Nov 1992 09:04:34 GMT

tomrice@netcom.com (Tom R. Rice) writes:

>ca_ac@gsbacd.uchicago.edu writes:
>>it is indeed "Liebesleid"

>By golly, you're right; I've learned something and Mr. Ledine was unjustly
>maligned!

Victor Ledine is quite knowledgable, as a matter of fact.  I don't always
share his tastes (early 20-th century Swedish symphonists, e.g.) but his
afternoon show on KKHI is an order of magnitude more adventurous than all
other local fare.
-- 
Bryan Higgins, Berkeley, California  (bryan@netcom.com)
Newsgroups: rec.music.classical
From: bseymour@encore.com (Burch Seymour)
Subject: New PDQ Bach, Anyone have it?
Organization: Encore Computer Corporation
Date: Thu, 5 Nov 1992 13:02:28 GMT


I got a new Telarc catalog yesterday and theres a new PDQ Bach CD out.
Music for A Bunch of Horns and Percussion (or something like that, I
don't have the book here with me).

The description sounds interesting, does anyone have it yet? Would
you post a summary/review please? Or send me mail?

Thanks,

-Burch- bseymour@encore.com
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Re: Piano transcriptions
Date: 8 Nov 92 05:50:48 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Nov7.230235.19687@nuscc.nus.sg> smoliar@iss.nus.sg (Stephen Smoliar) writes:
>In article <hal.20.721076133@radio.wkar.msu.edu> hal@radio.wkar.msu.edu (Hal
>Prentice) writes:
>>In article <17191@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley)
>>writes:
>>>I have quite a lot of piano duet arrangements, including Mahler's 9th
>>>symphony (along with his 1st, 2nd, 3rd, 4th and 5th)... Does anyone know if
>>>the other symphonies have been released to the public domain (in piano duet
>>>form, that is)?

>>Whoops!  I'm sorry, I misread your request.  Mahler transcriptions I don't 
>>know...Schoenberg might have done some since he and Mahler were buds.

>Somehow, I find it hard to characterize the relationship between Mahler and
>Schoenberg was one of "buds."  Schoenberg had both admiration and respect for
>Mahler, but I do not know to what extent Mahler overtly encouraged Schoenberg.

Quite a bit, actually.  At times he thought AS was crazy, and once or 
twice told him off, but he recognized the younger composer's talent
and insight.  Also, wasn't it Mahler who got up and defended Schoenberg
when catcalls broke out at the premiere of the Second Quartet?  

Finally, Mahler recommended Schoenberg for a position at the Academy
of Music in Vienna in 1911, shortly before his death.

>As far as transcriptions of the symphonies are concerned, only two such were
>performed by the Society for Private Musical Performances;  and neither was
>arranged by Schoenberg.  The very first Society concert concluded with the
>seventh, transcribed by Alfredo Casella.  The following year, the sixth was
>performed in a transcription by Alexander Zemlinsky.  I have no idea if either
>of these was published, but I would certainly like to see them.

But the Third was arranged by the young Alban Berg, who got the job through
his teacher.

Roger
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: HAYDN
Date: Sun,  8 Nov 92 21:39:40 PST
Organization: The Portal System (TM)
  <hudu.721036905@well.sf.ca.us>

  I would like to second what Scott Marley said here about Haydn.  I
love Haydn's music too, and one of the great joys in listening to Haydn
is the variety, the unexpected;  it seems like Haydn never quite does
what you might expect.  I cannot understand how it could seem to all
sound alike -- Haydn is just the opposite for me.  Now Bruckner - there
is one where it all sounds alike to me (not meaning to start a great
controversy here - I do enjoy listening to Bruckner sometimes too - but
his symphonies do tend to sound alike to me - perhaps I have failed to
penetrate his particular style enough - even so, as I say, it can be
fun to be swept up in a grand Brucknerian symphony too, but for me, 
anyway, there is a lot more substance and variety in Haydn (and Mozart
any many other too, of course).

    Bill Pearce
Newsgroups: rec.music.classical
From: coren@speed.osf.org (Robert Coren)
Subject: Re: Perfect Pitch Ability - Questions
Organization: Open Software Foundation
Date: Fri, 13 Nov 1992 15:13:21 GMT

In article <BxM8Ex.FI7@javelin.sim.es.com>, RSPEIRS@130.187.170.178 (RON SPEIRS) writes:
> I hope that this newsgroup is appropriate for this question.
> I have always been interested in the ability called "Perfect Pitch".  As I
> understand it, it is the ability of a person to recognize and identify a
> note of the 12-tone scale, and to reproduce by humming or singing any note
> of the scale.  Related to this, "Relative Pitch" ability would be the ability
> of a person to recognize intervals and chords, and to hum or sing intervals
> correctly.

This is a perfectly appropriate newsgroup for such a question; in fact
we had a fairly extensive discussion on "perfect" or "absolute" pitch
a few months ago, which time constraints prevented me from
contributing to. Thanks for the opportunity to put in my two cents.
:-)

I can't answer any of your questions, as it happens, but I can
describe my own experience as a way of indicating that what we refer
to as "perfect pitch" or "absolute pitch" is actually a very various
phenomenon. I have always had what I jokingly refer to as "imperfect
pitch": I can recognize pitches reliably when played on an instrument,
but much less reliably when sung unaccompanied, and I cannot reliably
produce a given pitch on demand. I have no idea why this is the case.

Another interesting aspect is what's happened since I started hearing,
and more especially singing, music at "old pitch", i.e., A=415. I
expected that this would drive me crazy, but I found that, even though
a piece in, say, D, might seem to start in Db, once it got going it
was easy enough for me to force myself to hear it as D, and then soon
to hear it as D without forcing. This is especially true if I've got a
score in front of me that asserts that it *is* D. (This doesn't work
for distances greater than a half step.)

But what's really odd is that in recent years I've started hearing
modern pitch as "sharp"; that is, I'll notice that when I hear a piece
that I know to be in D on the radio, say, it often sounds at first
like Eb.

All of this suggests that pitch recognition can be learned.

--Robert
From: dgold@basso.actrix.gen.nz (Dale Gold)
Newsgroups: rec.music.classical
Subject: Re: STRAVINSKY
    <LYVSBWG4@cc.swarthmore.edu>
Date: 11 Nov 92 07:48:10 PST
Organization: New Zealand Symphony Orchestra

Quoted from <LYVSBWG4@cc.swarthmore.edu> by rbrooks1@cc.swarthmore.edu> (Rob Brooks):
> In article <2AFB6D53.9873@news.service.uci.edu>, josh@aris.ss.uci.edu (Josh
> Stern) writes:
>> In article <F7PTTB3w165w@sys6626.bison.mb.ca> al@sys6626.bison.mb.ca (haus der luge) writes:
>>> 
>>> I recall somebody here mentioning that they have a copy of the 'RITE OF 
>>> SPRING' for ONE piano.
>> 
>> There is a pianola version, based on a roll prepared by Stravinsky,
>> which appears as a coupling for the Rite of Spring performance 
>> conducted by B. Zander with a semi-professional group from Boston
>> on IMP.  
> 
> I may be competely imagining this but I think I remember Zander saying that
> the pianola roll was done by Stravinsky himself (with a few "cleaning up"
> jobs done later).  He must have been quite a pianist.

As I understand it, the pianola roll was created under Stravinsky's
supervision by a man who spent many days poking wholes in the roll of 
paper. 

Dale
--
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand
Newsgroups: rec.music.classical
From: wai@socs.uts.edu.au (Wai Yat Wong)
Subject: Help with classical music selection for my wedding :-)
Summary: subject says it all
Keywords: music wedding celebration
Organization: Computing Sciences, Uni of Technology, Sydney.
Date: 11 Nov 92 08:32:20 GMT

I need help. I am getting married soon. So I finally
enlisted a musical family to play for me in my wedding
reception. But now I do not know what to ask them to
play for me. Well, they are experts on flute, piano,
oboe, and cello. I am looking for some delightful classical
pieces to entertain the guests, some beautiful pieces which
can be performed by the family to captivate the whole atmosphere,
and some folk songs , dances, or waltzs for dancing.

Please flood me with suggestions. Remember my musicians
are classical in training and they play piano, cello,
flute, and oboe. And please give me some good ones and
do not make fun of this posting. I am in agony -- well
not quite so far.


--
( Wai Yat Wong          | School of Computing Sciences                  )
( Phone No. : 330-1841  | University of Technology, Sydney, NSW 2007    )
( Fax No.   : 330-1807  | wai@socs.uts.edu.au                           )
Newsgroups: rec.music.classical
From: mjw@Xenon.Stanford.EDU (Michael Wolverton)
Subject: Opinions of "Stravinsky: The Composer"?
Originator: mjw@Xenon.Stanford.EDU
Organization: Computer Science Department, Stanford University.
Date: Wed, 11 Nov 1992 21:36:37 GMT


Does anyone have any opinion of the series of CDs on the Musicmaster
label titled "Stravinsky: The Composer"?  The performances are all
conducted by Robert Craft, and feature various performing groups
depending on the piece.  I'm especially interested in Volume II,
which contains the Pulcinella Suite, the Symphony in C, Les Noces,
and some other stuff.  Anyone heard this CD?

Thanks in advance,

Michael
-- 
--------------------------------------------------------------------------
Michael Wolverton                       "Is that clear?"
mjw@cs.stanford.edu                     "No, but it's consistent!"
--------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: icking@gmd.de (Werner Icking)
Subject: Re: Sheet music editor
Organization: GMD, Sankt Augustin, Germany
Date: Thu, 12 Nov 1992 16:16:32 GMT

In <1992Nov11.111556.11655@crash> cwr@crash.cts.com (Will Rose) writes:

>A friend teaches the violin, and is looking for a sheet music editor
>to run on an IBM PC and print out the manuscripts for his students. [...]

If he already has and knows TeX he may use MusicTeX available per anoymous
ftp from here:

  ftp.gmd.de    music/musictex/musictex.zip     et.a.

A mailing list for MusicTeX may be subscribed at:  mutex-request@stolaf.edu

Shareware TeX (e.g. emTeX) is available from a lot of TeX-servers.

Werner
--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
From: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
Newsgroups: rec.music.classical
Subject: Re: Chopin's hands (was: It's in the wrists.)
Date: 13 Nov 92 03:20:28 GMT
	<1992Nov12.212853.15887@math.ucla.edu>
Organization: /pearl/homes/eijkhout/.organization
NNTP-Posting-Host: cupid.cs.utk.edu
In-reply-to: pugh@pico.math.ucla.edu's message of Thu, 12 Nov 92 21:28:53 GMT
In-reply-to: pugh@pico.math.ucla.edu's message of Thu, 12 Nov 92 21:28:53 GMT

In article <1992Nov12.212853.15887@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:

   In article <EIJKHOUT.92Nov12122942@cupid.cs.utk.edu> eijkhout@cupid.cs.utk.edu (Victor Eijkhout) writes:
   >Not all tenths are created equal. If you can play C-E, you may
   >not be able to play D-F# or Ab-C. I was practicing a Skriabin
   >piece for the left hand the other day and apart from one 11th 
   >(A-D-F#-D) there were only tenths. But you should try them:
   >A-C#-F#-C# or Ab-D-F#-C . Ow!

   Which piece was this as a matter of interest? 

Nocturne no.2 in A. I have it in a Dover edition of lots
of short pieces. Rather neat piece, in particular if you have
a third pedal. It has a lot of sustained chords with bass runs
under them. (Actually my piano has only two pedals, but if you
press the left one, while holding down the 'chorus' button,
it changes function :-)

   >By the way, does anyone know in what piece the incredible
   >Db-F-Ab-Db-F stretch appears? That one is beyond me.
   >

   I presume this is in the left hand? If so,...

   How about Rachmaninov Preludes Op23 No 12 (?).

That could very well be it. Someone once mentioned that chord to me.
Thanks.

   David


Victor
Newsgroups: rec.music.classical
From: richardh@convex.com (Richard Hargrove)
Subject: Re: HAYDN
Date: Fri, 6 Nov 1992 13:41:30 GMT
Organization: Engineering, CONVEX Computer Corp., Richardson, Tx., USA
Keywords: Haydn symphony
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

In article <Bx5nAK.99n@mentor.cc.purdue.edu> kayteebe@sage.cc.purdue.edu (ktb) writes:
>In article <885.3163.uupcb@synapse.org> ian.murray@synapse.org (Ian Murray)  writes:
>>You suggest...I'll Listen
>	
>	Try Haydn's Symphony 104.
>
A recommendation which I strongly second.  Then go listen to # 49, La Passione.
Or better yet listen to #49 first.

richard hargrove
+-----------------------------------------------------------------------------+
|   Wooster: What a lesson this is to us, Jeeves. In this life you can either |
|            shut yourself up in a country house and stare into a newt tank   |
|            or you can be a dasher with the sex. But you can't do both.      |
|    Jeeves: It's a sad reflection, Sir.                                      |
+-----------------------------------------------------------------------------+
Newsgroups: rec.music.classical
From: potoole@maths.tcd.ie (Peter O'Toole)
Subject: Re: It's in the wrists.
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.
Date: Tue, 10 Nov 1992 15:14:17 GMT

In article <101095@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
>
> I heard that Chopin had big hands, that Rachmaninoff had
>big hands, and that Liszt had real huge hands.
>     I believe someone told me that Liszt's could span 12 keys with
>

One of Liszt's pupils left a detailed description. Despite having long
fingers with little webbing, he did not have a 'huge' span. He is supposed
to have had to strain in order to play the last chord in the 3rd mvt
of Beethoven's op.106 softly. Also his hand was shaped to take Emajor very
'naturally.'

>     Anyways, is there any great piano composer/virtuoso who had
>hands the size of mine or smaller?  (I'm looking for insipiration! :)
>

Leopold Godowsky is supposed to have had small hands, which is surprising
considering some of the chords in his transcriptions.
As for large hands, we may list pianists like C.M.von Weber, Thalberg, Alkan
and Rachmaninov who could probably all span a 12th ( so could Eubie Blake ).

Now a question. Askenazy has small hands. IMO he virtually destroyed
Rachmaninov's 2nd concerto ( Previn recording ) with arpeggiations all over
the place, yet in his recordings of the preludes, he seems to fare ok.
How did he do this?

Peter O'Toole,
Trinity College Dublin.
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Re: New Riley Work: St. Adolph Ring
Date: 5 Nov 92 20:35:24 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

gtaylor@vme.heurikon.com (Gregory Taylor) wrote:
> alves@calvin.usc.edu (William Alves) writes:
>> The St. Adolph of the title was not someone canonized by the Church, but
>> rather a schizophrenic in a Swiss asylum in the early part of the 20th
>> century who turned out remarkable drawings, paintings, and writings. Riley
>> saw an exhibition of his work at a Swiss museum and was impressed with
>> their transcendental and surreal nature. 
> The gentleman in question is Adolf Wo:lfli. There's actually another whole
> project/compilation recording of work based on AW's stuff [including his
> written/drawn music] put together by Graham Revell on the Musique Brut
> label [sorry, it's LP] called "Necropolis, Amphibians, and Reptiles".

And a symphony by Per Norgard (his fourth, I think), "Indian Rose-Garden
and Chinese Witches' Sea".

I assume it isn't coincidence that Wolfli has suddenly been rediscovered by
all these people at about the same time.  What source are they all using?
The only contact I've had with his work was a postcard from a German museum
reproducing one of his paintings in their collection.  Has he been taken up
by an intellectual heavyweight critic in Germany, or been the subject of a
TV programme, or what?

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: The Best Thaikovsky's 6th
Organization: Camosun College, Victoria B.C, Canada
Date: Tue, 10 Nov 1992 16:48:31 GMT

In article <bTB=1S@engin.umich.edu> newjack@engin.umich.edu (Kyong Soo Lee) writes:
>Hello fellow netters!  I'm sure this question has been raised in the past.  Anyway,
>which is the best recording of the Thaikovsky's 6th symphony out there now in your opinion?
>
>Hope to get a long productive thread on this subject!

Not sure about Thaikovsky, but for Tchaikovsky's 6th:

	Leningrad PO/Mravinksy 1976 Erato.
	Leningrad PO/Mravinksy 1961 DG (coupled with 4 & 5)
	Leningrad PO/Mravinsky 1956 DG LP (coupled with 5 and a Sanderling 4th)
	BPO/Furtwaengler Cairo 1951, DG - probably not on CD yet
	BPO/Furtwaengler 1938, on a Novello CD I think
	Concertgebouw/Mengelberg 1938 Teldec
	BPO/Friscsay 195? long deleted DG LP

In my opinion the recent Russian National/Pletnev on Virgin is grossly
over-rated - I'm glad I bought it second-hand, because I would have
felt ripped off if I'd payed full price.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: rsi@scf16.scf.loral.com (Rich S. Ishikawa)
Subject: Re: Crochet's Satie on CD?
Organization: Loral Space and Range Systems, Sunnyvale, CA
Distribution: rec
Date: Fri, 6 Nov 1992 02:15:47 GMT

>   Newsgroups: rec.music.classical
>   From: del_col@ab.wvnet.edu
>   Date: 5 Nov 92 14:22:47 -0500
>   Organization: Alderson-Broaddus College
>
>   Has Evelyn Crochet's recording of Satie's piano music been released on
>   CD?  It was a Phillips recording.  My copy is not in good shape, and I'd
>   like to get it on CD if possible.
>
>   Jeff Del Col



Who is Crochet???  Do you know anything about her???  I she still
alive??? I have her recordings of Faure's piano music.  Fantastic
performances...  Really amazing....  


But I haven't heard of her name mentioned ever until today...


Let me know if anyone has any info.



Thanks,



RI



--
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
-*-*-* Richard S. Ishikawa -*-*-*-*-\     "To be or not to be..."     /*-*-*-*-
-*-*-*-* rsi@scf16.scf.loral.com -*-*-\   - can't be the question.  /*-*-*-*-*-
-*-*-* Loral Space and Range Systems *-*-*-*-* (408)734-6337 *-*-*-*-*-*-*-*-*-
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Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Brahms symphonies question
Organization: Camosun College, Victoria B.C, Canada
Date: Mon, 9 Nov 1992 17:12:59 GMT

In article <1992Nov6.190930.5309@mailer.cc.fsu.edu> aluffi@cauchy.math.fsu.edu (Paolo Aluffi) writes:
>Speaking about Op. 34 by Brahms, can anybody remind me of the "story" behind
>this piece? I vaguely remember reading that Brahms was never satisfied by
>the medium he had chosen to write this piece: first as a string quartet,

Quintet I think.

>and Clara Schumann's advice was to make more of it, maybe a symphony; Brahms
>settled for the Piano quintet version, which is well known, and for a sonata
>for two pianos now catalogued as Op. 34b. The version for 2 pianos is 
>extremely powerful--more, I think, than the piano quintet (which is anyway my 
>"favorite" piano quintet, whatever that might mean). 
>Any pointer to recording of the two piano version? I have it played by the duo 
>Uriarte-Mrongrovius, Calig 50893, but I remember hearing an even better 
>performance on the radio once---without catching the performers' names...

There was a DG LP by the Kontarsky brothers, but I'm not sure if it's
been reissued on CD.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.


Newsgroups: rec.music.classical