HDTenEightyP/NetNews huggingface dataset:
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Sembrich addenda
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Mon, 9 Nov 1992 23:29:01 GMT

In a previous posting I wrote about a very nice exhibit of materials from
the estate of opera singer Marcella Sembrich.  More than one person pointed
out that I had neglected to indicate the closing date of the show:
It is currently running in the Vincent Astor gallery of the New York
Public Library for the Performing Arts, located at Lincoln Center, and
will close on  February 11, 1993.

One very nice person also expressed interest about the recorded excerpts
that can be heard in the exhibit hall.  There are 17 selections (obviously
closer to an hour's worth of listening, rather than the half-hour I 
originally indicated).  Selections include arias from Lucia di Lammermoor,
Faust, Le Nozze di Figaro, La Sonnambula, Don Giovanni, Il Barbiere di
Siviglia, I Puritani, Ernani, Norma, Don Pasquale, the Merry Widow,
Halka (by Moniusko) and songs by Chopin.

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.
From: terjer@ifi.unit.no (Terje Rydland)
Subject: Re: Chopin's hands (was: It's in the wrists.)
Followup-To: rec.music.classical
Organization: IfI, UNIT-AVH
Date: Thu, 12 Nov 92 10:53:59 GMT

In article <4224@litchi.bbn.com>, cbarber@bbn.com (Chris Barber) wrote:
> 
> In article <101095@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
> >
> >
> >     Well, I tried playing some Chopin when I realized that my hands
> >were a bit small for some of the chords in his music!  I hate that!
> >Anyways, I heard that Chopin had big hands, that Rachmaninoff had
> >big hands, and that Liszt had real huge hands.
> 
> Actually, I believe that Chopin did not have particularly large hands.
> I had thought something on the order of a reach of a 10th. There
> is supposed to be some casts made of his hand on his death and I think
> there might be some copies of these in museums. Has anybody seen one
> of these?

There is one in the Ringve Museum of musical instruments in Trondheim,
Norway. Chopins hands where very thin and narrow (not big at all), but his
fingers were very long.

BTW: The Ringve Museum is a must for people interested in music. They have
a Boadwood (Maker of one of Beethovens pianoforte), a Conrad Graf
pianoforte, a Stein (made one of Mozarts pianos), a Clementi (I think) who
made pianos for Chopin (when he didn't compose). There is also a beautiful
Amati violin. Among many other instruments (also one of Wanda Landowskas
harpsichords).
If you are ever in Norway you must NOT miss it!


Terje Rydland
Dept. of Informatics, UNIT, Trondheim, Norway
Internet : terjer@ifi.unit.no
AppleLink: NOR0103
Tlf : +47-7-591845
Fax : +47-7-591733
Newsgroups: rec.music.classical
From: rdorocke@silver.ucs.indiana.edu (rob lawrence dorocke)
Subject: Re: Cage's 4'33"
Organization: Indiana University
Distribution: usa
Date: Wed, 11 Nov 1992 23:40:07 GMT

In article <1992Nov11.224740.2346@osf.org> dbrooks@osf.org (David Brooks) writes:
Newsgroups: rec.music.classical
>In article <1992Nov11.205624.1093@sequent.com>, danielh@sequent.com (Daniel Hobbs) writes:
>|> I've read so much on this newsgroup about Cage's infamous 4'33".
>|> Can anyone recommend any good recordings of it?  What, in the
>|> informed opinion of this net, is the _best_ recording?
>
>What a coincidence!  I'm listening to a performance right now, and my CD
>player is miles away.
>
>But the disk fan is whirring, my officemate's keyboard is clicking, a phone
>just rang nearby, and I can hear my boss's dulcit tones haranguing a
>colleague...
>
Did you hear the police car?  I just did.  It's near the beginning

Rob
>There.  It just finished.
>-- 
>David Brooks					dbrooks@osf.org
>Open Software Foundation			uunet!osf.org!dbrooks
>Allueberall und ewig blauen licht die Fernen!  Ewig... ewig... earwig... O!


Newsgroups: rec.music.classical
From: lrm28@cas.org ()
Subject: PDQ Bach sheetmusic request
Summary: is there any out there?
Organization: Chemical Abstracts Service, Columbus, Ohio
Date: Mon, 9 Nov 1992 16:21:34 GMT

I've been looking in the area music stores for scores for this music.
No one seems to stock it.  The library has copies, but copyright laws
prohibit my copying it (their rules...let's not start the arguments).

I think the publisher is T. Presser in Bryn Mawr, PA.  Anyone have any
better leads?  The humor of a classical performer hangs in the balance.
-- 
Luke Mayercin  lrm28@cas.org  "Why does ear wax taste like it does?"
Chemical Abstracts Service is not responsible for these comments.
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Newsgroups: rec.music.classical
Subject: Re: The best Tristan und Isolde
Date: 13 Nov 92 19:12:52 GMT
Article-I.D.: yuma.Nov13.191252.24271
Organization: Colorado State University, Fort Collins, CO  80523


  Am I the only one out here that loves the Bernstein?  Despite it's several 
flaws, such as being sold in 5 seperate jewel boxes, and a bit of audience
noise, this is really a remarkable recording.  The length of the pauses in the
prelude has, IMHO, a wonderful effect.  Hofmann sounds as good as he ever has,
and this is also one of Behrens' best performances.  I also really enjoy the
Brangaene of Minton.

Mike Hurben
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical
Subject: Re: Messeian recommendations?
Date: 8 Nov 92 18:20:22 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <17263@mindlink.bc.ca> Mike_Quigley@mindlink.bc.ca (Mike Quigley) writes:
>Correct me if I'm wrong, but I think the instrument in the Beach Boys piece
>is a therimin, not an Ondes Martenot.

Yes, you're right.  Now I remember the thread about this subject a while
back.  Sorry....

-chris
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Fantasia Contrappuntistica
Organization: Camosun College, Victoria B.C, Canada
Distribution: na
Date: Thu, 5 Nov 1992 20:35:20 GMT

In article <hellerS.720805379@batman> hellerS@moravian.edu (sjh) writes:
[....]
>Also, G.D.Madge has recorded ALL the Busoni solo piano music on Philips,
>and it wouldn't really surprise me if he's recorded the 2-piano version of
>this work as well, but I have no evidence of that.

I don't think his set includes *all* the piano music, it is billed as
the *major* works is it not? (I'll check when I get home). As far as I
know he hasn't recorded the 2-piano version. I wish the Ralph
Downes version of Mittelschultz organ version was back in the
catalogue. And what about the upright piano version?

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
From: eyu@hamlet.umd.edu (Ellen Yu)
Newsgroups: rec.music.classical
Subject: Looking for voice version of Ave Maria (Bach/Gound)
Keywords: Ave Maria Vocal Version
Date: 3 Nov 92 18:27:57 GMT
Article-I.D.: umd5.16792
Organization: University of Maryland, College Park

Hi everyone!

One of my favorite violin pieces is the Ave Maria by Bach/Gound.  I've
heard it has a voice version and I'd like to find a recording of it
(if it exists).  Any pointers would be greatly appreciated.

Ellen

-- 
    Ellen Yu, AT&T Teaching Theater         Phone: (301) 403-4623 office
    Computer Science Center, Univ. of MD           (301) 403-4628 Fax
    4321 Hartwick Rd., Suite 500            Internet: eyu@umd5.umd.edu
    College Park, MD  20740                 Compuserve: 71641,1764
From: hellerS@moravian.edu (sjh)
Newsgroups: rec.music.classical
Subject: Re: Messiaen recommendations?
Date: 6 Nov 92 16:52:28 GMT
Distribution: na

In <Bx9LBz.72p.1@cs.cmu.edu> acid+@cs.cmu.edu (Christopher Colby) writes:

>In article <1dbnlnINN9vs@agate.berkeley.edu> maverick@fir.CS.Berkeley.EDU (Vance Maverick) writes:
>>Yes.  Also, before either of these, I would
>>recommend the _Vingt Regards sur l'Enfant-Jesus_,
>>for piano solo.  Of these, perhaps #13 the most:
>>crystal-perfect, as somebody said.

>Can anyone comment on existing recordings?  I've been really wanting to get
>this piece, and I'm interested in opinions on which one to buy first.
>Thanks.

>-chris

Peter Serkin recorded the most beautiful and powerful performance of this
_ever_ (IMHO) back in the 70's, but it has not yet been re-released on CD.
I tried John Ogdon's 1969 recording on London CD, but it was rough and the
recording is poor quality. I then bought, on a hunch, a beautifully
performed and recorded 2-CD set on Arts & Electronics by Roger Muraro,
which I can safely recommend as a worthy interpretation of a work that is
all too often trashed by ill-equipped or uninspired pianists. It is an
emensely  spiritual work for me, so I'm really picky. But, if Serkin's
recording ever becomes available (I hope, I hope), that will be the ONE to
buy. There are other's available, that may also be excellent, but I'd hate
to see someone get the "wrong" one, and never experience this magnificent
work as it should be.

	Steve Heller
Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: Bad Brahms (Was Re: Brahms symphonies question)
Organization: Credence Systems Corp. Beaverton, OR
Date: Fri, 13 Nov 1992 01:22:59 GMT


>Speaking of bad Brahms, does any exist? 
>
>--Aaron Brockett 

How about the 2nd piano sonata? That kind of stuff was better left to Liszt.
Fortunately, he seemed to recover in time for the 3rd. 

Some of the songs are a bit on the drab side for my taste, but there's
nothing there I would call really bad.

					         Jeff Winslow
Newsgroups: rec.music.classical
From: BRIANS@wsuvm1.csc.wsu.edu
Subject: Re: Tallis's Lamentations of Jeremiah, etc.
Organization: SYSTEMS & COMPUTING
Date: Sat, 07 Nov 92 12:07:06 PST

The correct spelling is Les arts florissants.
 
 
 
Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Brahms
Organization: School of Computer Science, Carnegie Mellon
Date: Fri, 13 Nov 1992 05:16:50 GMT

In article <BxMGKp.F6u@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <BxL85L.Lo7@usenet.ucs.indiana.edu> rdorocke@silver.ucs.indiana.edu (rob lawrence dorocke) writes:
>>Have you heard his German Requiem?  If that doesn't get you into Brahms, you
>>weren't ment/meant to admire his music.
>
>Don't be so glib about it.  :-)  That was one of the hardest for me.
>After more than a decade of struggling with it, it took the Solti
>recording (1978) to make me see the point.  Now I can enjoy almost any
>performance of it, having once come to terms with it.  But this is a

I had a very similar experience.  For a while, all I had was a Karajan
recording on DG (the Janowitz one, I think).  I never heard what the big
deal was.  Then I heard, at about the same time, both the Gardiner and the
Klemperer, and immediately understood.  Two very different views of the
piece, but either would have sufficed.  Man, soggy was indeed the word for
that Karajan.

-chris

P.S.:  I give another enthusiastic thumbs-up for Brahms in general.
From: AH.PBL@forsythe.stanford.edu (Mark)
Newsgroups: rec.music.classical
Subject: Re: KDFC - a question.
Date: 12 Nov 1992 15:17:28 -0800
Organization: Stanford University
Distribution: usa
NNTP-Posting-Host: morrow.stanford.edu

In article <Nov.5.20.39.08.1992.8759@blaze.rutgers.edu>,
zhu@blaze.rutgers.edu (Yi Zhu) writes:
>
>Having recently gone to California, I have a question for listeners in
>the Bay area, or for anyone who cares to comment.
>
>There is this station KDFC whose announcer practices a peculiar way of
>radio hosting.  Before and after a piece is played, he would give the
>usual info about the number, then a pause, then almost as an
>afterthought, adds a 4 digit number, e.g. 1865, 1934, 1786.  I found
>it quite odd, after a couple tunes, I figured out that it is the
>year in which the piece is completed.  So here is the million dollar
>question: Knowing the year(assuming you know what that number means),
>does it help enhancing your enjoyment or understanding of the music
>in any way?
>
>I think not, so I am not sure about the point of doing it.
>
>Incidentally, the same DJ seems to be there all day, and possibly all
>night, with the same monotonic voice.  He'll definitely have a hard
>time making it in the New York market, just think all the commercials
>they can jam in if it weren't for the pauses and the numerics that Mr.
>DJ sprinkles throughout the day.   8-)

  First, it's a recorded "DJ".  I like it that way.  I don't
listen to the station to hear some silly banter from someone.
He tells you about the music (briefly), then he goes away.
The "pauses" are only a second in length.  There's nothing wrong
with a little quiet in between.

  Second, I like knowing the year in which a piece of music
was written.  In fact, the more they tell me about it, the better.

-- Mark
From: Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.)
Newsgroups: rec.music.classical
Subject: Re: Wagner Opera, Long or Short
Date: 6 Nov 92 21:39:40 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

In article <1992Nov4.022818.2653@wam.umd.edu>
ext@wam.umd.edu (Eugene Zhu Xia) writes:

> Now the Italian opera is like going to a ball.  You get one tune after
> another from the band, i.e. one pretty song after another with people 
> applauding in between.  The drama and the myth (if there is any) are secondary.

I think your confusing Rossini and Donizetti with the serious Italian
opera. Please inform me where to clap in Falstaff and Otello, I'm a
little slow so I can't notice the obvious disjunction of music. What
about Die Zauberflote and Die Entfuhrung aus dem Serail? These German
operas have pretty little songs one after the other where one can
applaud. Does that make it less inspiring? Is Die Meistersingers more
ennobling than Le Nozze di Figaro simply because you can't applaud
until the end of the acts. DO you HONESTLY believe Verdi put his
concern for drama of Otello, Falstaff, Aida and Don Carlo behind
composing quaint little tunes?

> Everything is focused on the moment--sort of like the instant gratification
> of the TV soap (sorry, don't mean to compare the two, but just to make
> a point).  There are great moments in them, but one song has little to
> do with the next

Wrong, Do you honestly think Desdemona's "Salce" and "Ave Maria" are
just applause getters? No, they give the scene and sense of both
sadness inevitable death and foreboding. An effect that makes Otello's
murder of her far more sad and unforgivable. Same with "Dio mi potevi
Scagliar" or Amneris' "Morir me sento"
 
>(that is why applauding in between is no big deal.  For
> comparison, imagine applauding after Siegfried's last song and before the 
> funeral music or after Grane, mine Ross).

I see, do you usually clap and Falstaff's "Mondo Ladro?"

  And I think that is why we
> can quantify them with things like 50% satisfaction rates. :-)

How about this: 50% of the time I hear Fafner singing I burst out in
uncontrollable fits of laughter :-)
From: danielh@sequent.com (Daniel Hobbs)
Newsgroups: rec.music.classical
Subject: Cage's 4'33"
Date: 11 Nov 92 20:56:24 GMT
Article-I.D.: sequent.1992Nov11.205624.1093
Distribution: usa
Organization: Sequent Computer Systems Inc.

I've read so much on this newsgroup about Cage's infamous 4'33".
Can anyone recommend any good recordings of it?  What, in the
informed opinion of this net, is the _best_ recording?

Dan Hobbs
danielh@sequent.com
From: al@sys6626.bison.mb.ca (haus der luge)
Newsgroups: rec.music.classical
Subject: Re: Best recording of "1812 Overture"?
Date: 6 Nov 92 15:25:38 GMT
Article-I.D.: sys6626.F2PTTB2w165w
Organization: System 6626 BBS, Winnipeg Manitoba Canada

chiu@gpb-mac.sps.mot.com (Norman Chiu) writes:

> Hi Everyone:
>     I am looking for the best CD (in terms of recording and performance)
> of the "1812 Overture" by Tchaikovsky.  Can anyone recommend one?
> 

The TELARC version is a really good performance and includes digital 
cannons.  The CD carries with it a warning label explaining that at high 
volumes these cannons may cause structural damage to both your stereo and 
other nearby objects if you play it too loud.
 
HausDerLuge
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Messeian recommendations?
Date: 13 Nov 1992 15:13:13 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

I don't have any great desire to crank up the composer and favourite
conductor debate, but the sleeve notes of the Chung recording with the
Orch de la Bastille explicitly state that in terms of both amendments to
the score and the performance, M thought it should be considered the 
definitive version.
From: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
Newsgroups: rec.music.classical
Subject: Re: Chopin's hands (was: It's in the wrists.)
Date: 12 Nov 92 12:29:42
Organization: /pearl/homes/eijkhout/.organization
NNTP-Posting-Host: cupid.cs.utk.edu
In-reply-to: cbarber@bbn.com's message of 11 Nov 92 17:05:37 GMT

In article <4224@litchi.bbn.com> cbarber@bbn.com (Chris Barber) writes:

   Actually, I believe that Chopin did not have particularly large hands.
   I had thought something on the order of a reach of a 10th. 

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!

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

   Christopher Barber

Victor.


Newsgroups: rec.music.classical
From: spg@Xenon.Stanford.EDU (Stephen P. Guthrie)
Subject: Schulhoff
Originator: spg@Xenon.Stanford.EDU
Organization: Computer Science Department, Stanford University.
Date: Thu, 12 Nov 1992 10:10:00 GMT

I've seen a couple of cds recently by a composer called Schulhoff (I think a
contemporary of Bartok). There is some chamber music on EMI and also in the
new Philips Lockenhaus edition with Gidon Kremer.
This is a new name for me - does anyone know about this Schulhoff guy?


Newsgroups: rec.music.classical
From: sse@wind.bellcore.com (Samuel S Epstein)
Subject: Re: It's in the wrists.
Reply-To: sse@wind.UUCP (Samuel S Epstein)
Organization: Bellcore, Morristown, NJ
Date: Mon, 9 Nov 92 15:01:44 GMT

In article <101095@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
>
>
>     Well, I tried playing some Chopin when I realized that my hands
>were a bit small for some of the chords in his music!  I hate that!
>Anyways, 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
>his hand.  I can only span with great difficulty, 10. -with real
>great difficulty.  Actually, its practically only 9 keys. *sniff*
>
>     Anyways, is there any great piano composer/virtuoso who had
>hands the size of mine or smaller?  (I'm looking for insipiration! :)
>
>
>Well, hopefully this isn't a dumb question, if it is, sorry I posted it.
>
>                             -G. Degamo,
>                              spacefox@acs.bu.edu


I read that Josef Hofmann had small hands.

Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Sir Peter Maxwell Davies
Organization: UCLA Mathematics Department
Date: Mon, 9 Nov 92 17:58:26 GMT

Any fans of Peter Maxwell Davies out there?

I loved his First Symphony and a Cantata which I've forgotten the name
of (it was about the Orkneys and had some 'far-out' organ writing)

How many Symphonies is he up to? I heard the premier of the 4th.

And what about these 10 concerti he's writing? How many of them are
done (heard the oboe and that's about it)?

Thankyou in advance

David


Newsgroups: rec.music.classical
From: chiu@gpb-mac.sps.mot.com (Norman Chiu)
Subject: 1812 Overture - Thanks
Followup-To: rec.music.classical
Organization: Motorola Inc.
Date: Tue, 10 Nov 1992 22:05:23 GMT

Thanks to all the people who recommended the best recording of the "1812"
overture.  I finally ended up buying the following piece:

Sir Georg Solti, Conductor  Chicago Symphony Orchestra  -  London Records

And it was indeed excellent!  One of the best that I ever heard.

   /|   /  chiu@gpb-mac.sps.mot.com  | Norman Chiu - Motorola Inc.
  / |  / ___________________________ | "We never gonna survive
 /  | / /  / /__/  /\/\   /_\   /| / |  unless we get a little
/   |/ /__/ /   \ /    \ /   \ / |/  |  crazy"       - Seal
From: Charles.R.Hohenstein.1@nd.edu (Charles R. Hohenstein)
Newsgroups: rec.music.classical
Subject: Re: Prokofiev, Romeo, Maazel/Cleveland
Date: 12 Nov 92 19:41:30 GMT
Followup-To: rec.music.classical
Organization: University of Notre Dame

In article <12NOV199208383146@portal.lasc.lockheed.com>,
le01167@portal.lasc.lockheed.com (Ron Nadel) wrote:
> 
> In article <terjer-121192114039@majestix.ifi.unit.no>, terjer@ifi.unit.no (Terje Rydland) writes...
> 
> >What about the Previn recording from about the same time (middle 70's) on
> >EMI. Is that available on CD? I bought it back then on LP and from what I
> >have heard of the Maazel I prefer Previn.
> >Other opinions?
> > 
> This is also available on CD.  It is a great performance in its own
> right, but I prefer the Maazel (by a hair) because of the strong
> rhythmic force of his interpretation, and the technical brilliance
> of the Cleveland Orchestra.
> 
> Ron

Can't anyone tell me where to buy a copy of the Maazel Cleveland? I already
knew it was still in Opus--like a lot of other out of print recordings.
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Mahler-Bruckner cliches
Date: 6 Nov 92 01:33:01 GMT
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Vance Maverick (maverick@fir.CS.Berkeley.EDU) wrote:
: In article <1d7d94INNqk9@uniwa.uwa.edu.au>, diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
: |> 
: |> I *love* Mahler, in the way I love Futurist and Vorticist paintings, and
: |> enormous Art-Deco slab sided skyscrapers. I find him unsubtle, bombastic and
: |> blustering, like a retired Colonel of the Light Horse. 
: 
: I think you do less than justice to the incredible *subtlety*
: of his unsubtlety.  The orchestration!
: 

You do less than justice to the incredible subtlety of the unsubtlety of
the filligree work on Art-Deco skyscrapers. Or the tonal contrasts in
Vorticists.
From: pugh@pico.math.ucla.edu (David Pugh)
Newsgroups: rec.music.classical
Subject: Re: It's in the wrists.
Keywords: Liszt
Date: 11 Nov 92 19:44:29 GMT
Distribution: usa
Organization: UCLA Mathematics Department

In article <1dqgeoINN3kq@agate.berkeley.edu> leon@garnet.berkeley.edu (Leon C. Salcedo) writes:
>In article <1dmo02INNt8h@darkstar.UCSC.EDU> haynes@cats.ucsc.edu (Jim Haynes) writes:
>>
>>In article <1992Nov9.150713.4035@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:

>>>I don't ever remember Liszt having hands that big. Rachmaninov could...

>>That's OK.  Hardly anybody living today remembers Liszt at all  :-)

>
>Count me out!
>People who remember Liszt are the ones who are seriously interested
>in learning how to play the piano not for showmanship but for what
>the piano has to offer. 
>
>
>leon

I think you've missed the point of Jim Haynes comment! I believe he
was refering to the fact that my comment suggested that I was ALIVE when
Liszt was alive, not that Liszt's music isn't worth remembering !

Indeed there is some wonderful Liszt piano writing. However it must be
said he wrote a whole load of rubbish too.

David
Newsgroups: rec.music.classical