HDTenEightyP/NetNews huggingface dataset:
From: dclason@dante.nmsu.edu (Dennis Clason)
Newsgroups: rec.music.classical
Subject: Re: Too Polite (was Re: news: pavarotti booed out
Summary: How many relatives are present?
Date: 17 Dec 92 17:57:22 GMT
Distribution: rec
Organization: New Mexico State University, Las Cruces, NM

In article <1992Dec15.150531.19216@news2.cis.umn.edu> jill@gopher.ccbr.umn.edu (Jill Hollifield) writes:
>I live in Minnesota, "Home of the Obligatory Standing Ovation" (tm).
>I have never been to a concert where there wasn't a SO, whether
>the performance was good, bad, or indifferent.
>
>So, my questions:  Does this happen anywhere else?  And what are *your*
>criteria for a standing ovation?  What has to happen to bring you
>to your feet?

My experience suggests that the probability of a standing ovation (SO)
is a function of the age of the performers and the number of performer's
relatives in the audience.  Let's face it, we're a nation of sheep, and
all it takes is one or two people to be so moved by little Janie's
performance of Clarinet Candy that they HAVE to stand and applaud,
Pretty soon (15-20 sec later) most of the audience is on their feet.

I don't think I've ever gone to a school performance that didn't
end with an SO.  Pro and semi-pro performances are a little
different.  A friend who lived in Germany for six years says
SOs there are indication that you've REALLY moved the audience,
probably to the point of tears.  I'm not sure what it ought to
take to get the audience on their feet, although the German
model would clearly merit it.

A world premiere of a difficult new work would probably merit it,
too, even if the performance was flawed.  We so rarely get to hear
NEW new music, that it's something really special.  (Can you tell
that my quartet is premiering a new commissioned work this weekend?
We are.  It's hard.  So, everyone should get to their feet at about
4:00 MST and applaud, 'cause the Call of the Shofar has finally
been played in public. :-)

Dennis
Newsgroups: rec.music.classical
From: bryan@netcom.com (Bryan Higgins)
Subject: Re: Good music for brass quintet
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Sun, 13 Dec 1992 08:54:12 GMT

ronthal-adam@yale.edu (Adam Ronthal) writes:

>I'm the original poster.  What's so confusing about not being able to find any
>discs that aren't the Canadian Brass doing broadway hits once again for the ten
>millionth time?  Actually, I was just seeking reccomendations for brass quintet
>CDs.

The confusion was entirely my problem.

Yeah, I hate that "tuba player wears a tutu and plays flight of the bumble-bee"
stuff.  Have they no shame?  On the other hand, they are fine players.  Check
out their Art of Fugue CD (though it is, of course, an arrangement).

Looking in the Schwann Catalog under 'brass collections' you're right--mostly
pop stuff, though I see the aforementioned Morley Calvert piece is recorded by
the German Brass, along with Ewald #5.

Why this dearth?  I think the brass quintet is basically very limited ensemble
with a monochromatic sound (and I somewhat half-heartedly play in one), that's
hard-pressed to sustain interest in "serious" music.  Thus the clowning, Beatles
favorites, etc.
-- 
Bryan Higgins, Berkeley, California  (bryan@netcom.com)
Newsgroups: rec.music.classical
From: isc20178@nusunix1.nus.sg (ER HIOK SONG)
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 21 Dec 1992 04:40:56 GMT

Tchaikovsky's no.1 piano concerto, in particular, its 3rd movement.
--
Er Hiok Song							|
DISCS, Faculty of Science, National University of Singapore.	|
email erhiokso@iscs.nus.sg					|
-----------------------------------------------------------------
Newsgroups: rec.music.classical
From: jacob@max.cc.brandeis.edu ( )
Subject: consensus on 2nd greatest opera [?]
Organization: Brandeis University Math Department
Date: Mon, 14 Dec 1992 23:44:59 GMT

1. i was wondering if there was a consensus on what the 2nd greatest
   opera was. (note i'm not personally interested in arguing over what the
   2nd greatest, or for that matter the 1nd greatest opera is, but simply if
   there is a *consensus* of personal opinions on that count -- i'm under
   the impression -- although i might be wrong of course -- that there is 
   such a consensus as to what the greatest opera is, namely that it is
   mozart's "don giovanni", and i do confess that among all the operas
   *that i know* it is my favorite)

2. as we're on the topic of opera, how many think mirella freni's performance
   as zerlina on colin davis's "don giovanni" is subpar? (i've got some
   problems with her butterfly on sinopoli's "madama butterfly" especially
   the final aria but i would agree that would be more open to discussion)
Organization: University of Maryland at Baltimore
Date: Thursday, 17 Dec 1992 13:55:54 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject: Re: symphonic music with electric instruments
 <1992Dec17.173857.5546@viewlogic.com>

Following up on the symphonic music with electric instruments
thread, I add the prominent use of synthesizers and samplers
in most of the major orchestral works of John Adams.
Check, in particular, _Fearful Symmetries_ and _The Death
of Klinghoffer._

Bob
Newsgroups: rec.music.classical
From: bseymour@encore.com (Burch Seymour)
Subject: Re: Xmas CD
Organization: Encore Computer Corporation
Date: Fri, 11 Dec 1992 21:03:45 GMT

strong@tc.fluke.COM (Norm Strong) writes:

>It's time for my annual Xmas CD, and I'm looking for recommendations.

>It should be for chorus, with or without accompaniment, and have lots of
>rarely heard music.  I don't want another CD with the usual English
>stuff.  

Well we just picked up Cow Christmas. With classics like Halle-moo-ja,
and Angus We Have Herd on High how can you go wrong....
From: rmw@cco.caltech.edu (Richard M. Wilson)
Newsgroups: rec.music.classical
Subject: Re: Harnoncourt and Svedja
Date: 18 Dec 1992 23:07:47 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: sandman.caltech.edu

In article <Dec18.182047.62365@yuma.ACNS.ColoState.EDU> hurben@lamar.ColoState.E
DU (Mike Hurben) writes:
>  This also brings up the question of what to think of JS.  

IMHO, Nikolaus Harnoncourt is a genius.  I don't like everything he
does, but he has impressed me with his insights over and over again.

One of the reasons that I stopped subscribing to KUSC here in LA is Jim
Svedja.  He is interesting to listen to in moderation, but when he came
to be in charge of the early evening program, my favorite listening
time, that was it;  I don't listen to KUSC anymore.  I can't imagine
anyone with taste that is more different than mine.  For example, when
he deigns to play Baroque music or Mozart at all, it seems always to be from
recordings made in the 60s.
Newsgroups: rec.music.classical
From: ucap22w@ucl.ac.uk (Martin S T Watts)
Newsgroups: rec.music.classical
Subject: Re: Requia
Date: 16 Dec 92 15:36:14 GMT
Organization: Bloomsbury Computing Consortium

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

>My two cats, Banjo and Harmonica, would like you to know that, collectively,
>they are an octopus(s).

Groan!

With names like that I'd have thought they'd make quite a good two-puss
rhythm'n'mews outfit. Just a thought.

Roll on the Christmas break!

Cheers,
Martin Watts.
Newsgroups: rec.music.classical,alt.flame
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: Re: why no women composers (was Re: FINAL FINAL THOUGHTS !!
Organization: The Communications Research Centre
Date: Fri, 11 Dec 92 23:48:16 GMT

In article <1992Dec11.222014.419@Princeton.EDU> mikulska@astro.princeton.edu (Margaret Mikulska) writes:
>In article <VuLLVB1w165w@cybernet.cse.fau.edu> elmo@cybernet.cse.fau.edu (Yuri Villanueva) writes:
>>


>>If it's because nature gave boys an extra music gene that girls don't got,
>>then I guess it ain't too much of a tragedy.
>
>Indeed, it's not a tragedy from a man's point of view.  Now imagine
>you're told "You are _biologically_ unable to pursue a serious career
>in music" when all you _really_ want to do is music.  Not much of a 
>tragedy, just an inconvenience, right?
>
>Thank you for such a sensitive and thoughtful contribution to this
>discussion.
>
>-Margaret
>
There is no shortage at all of women pursuing careers in music.  And
everyone should pursue whatever career they are drawn too.  The
original question was something like, "why are there so few women
composers".  It doesn't mean there aren't any, only that there are
few.  A potential explanation is there may be something biologically
gender-linked here.  I have no vested political motives that lead me
to believe that this is true or that this is untrue.  I do think that
I would like to know where the truth is, however.  And I do not see
that posing potentially investigable hypotheses does anyone a
disservice nor that it is insensitive nor unthoughtful.  For your
interest, I have a daughter who is very actively pursuing a career in
music.  She composes too.  But that neither establishes nor
contraindicates a possible gender-linked explanation for why there are
relatively few women composer.  Those who are predisposed, for
whatever reasons, to look to enculturation for the answer should also
being pursuing good evidence. So far, it seems to be a matter of
political correctness, rather than of evidence and reason. The
evidence, as I understand, is pretty good at this point for a
gender-linked mathematical and spatial ability.  That too is not
finally proven, but it has been actively pursued by good researchers,
many of whom have been women.
-- 
-----------------------------------------------------------------
Ted Grusec - Communications Research Centre, Ottawa, Ont., Canada
From: caf@omen.UUCP (Chuck Forsberg)
Newsgroups: rec.music.classical
Subject: Re: Ockeghem (was Re: Lost Masterpieces)
Date: 21 Dec 92 01:28:42 GMT
Article-I.D.: omen.1992Dec21.012842.15714
Organization: Omen Technology INC, Portland Rain Forest

In article <-3q2a6m@rpi.edu> mccomt@aix.rpi.edu (Todd Michel McComb) writes:

>Learning the chansons would probably be fun.  Once I finally get away from
>this place and can use a music library, I might be able to muddle through
>the bass parts.

Things may have changed since I escaped RPI in '64.  The local
repository of music culture used to be Emma Willard School,
within walking distance of the Freshman dorms.  Emma Willard had
a series of free chamber music concerts.  Some of these concerts
were enjoyable, but one prompted my debate coach to compare the
experience to being "trapped inside a Vox Box".  Most of the
girls at Emma Willard were above socializing with RPI Tools, but
that's another story.

Then there was the College of St Rose which may have some choral
activity.  Seems like there should be some resources available
to sing these works...

-- 
Chuck Forsberg WA7KGX          ...!tektronix!reed!omen!caf 
Author of YMODEM, ZMODEM, Professional-YAM, ZCOMM, and DSZ
  Omen Technology Inc    "The High Reliability Software"
17505-V NW Sauvie IS RD   Portland OR 97231   503-621-3406
Newsgroups: rec.music.classical
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Subject: National Symphony (Was: Standing OHHHH...)
Organization: University of Virginia
Date: Wed, 16 Dec 1992 17:36:33 GMT

In article <1992Dec16.152149.18973@europa.asd.contel.com> ashley@oasis.gtefsd.com writes:
>
>I have attended some National Symphony Orchestra concerts during the summer
>season at Wolf Trap Farm Park, and they usually receive a standing ovation
>as well.  Just this past summer, I had the opportunity to see the Boston Pops
>there as well.  They deserved ... and received one.   :-)
>
>I will provide one answer to the last two questions ... the music, IMHO, should
>be played with emotion and conviction.  I saw the NSO perform Beethoven's Ninth
>Symphony, and the soloists were outstanding.  You could feel it, from the
>soloists and chorus, right through the entire orchestra, during the final
>movement ("Ode to Joy").
>
>Just my thoughts ...
>
>
>Bob - long awaiting the start of the new summer season   :-)


And while we're on the subject of the NSO, does anyone else think that
this orchestra has really come into its own in the past few years?  I
recently heard them play Mahler 5 (and Mahler 2 in last Jan.) and they
simply blew me away.  The brass section especially has become top-notch.
I think their new Shostakovich 8 with Rostropovich is the best available
(and other versions include Chicago, Concertgebouw, St. Louis...).

I don't really want to start a full-blown "rate-every-orchestra-in-the-
world" thread, but I'd like to hear some thoughts on the NSO.


-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote
From: jimn@phred.UUCP (Jim Nevermann)
Newsgroups: rec.music.classical
Subject: Percussion
Date: 16 Dec 92 00:41:40 GMT
Reply-To: jimn@phred.UUCP
Organization: Physio-Control

Contemporary marching percussion instructors & arrangers for competition bands and drum & bugle corps: are you there? I am here! 

Among others, I did the Phantom Regiment drumline from '72-75 and University of Illinois Marching Illini drumline arranging '79 and '80. Since '85 I've taught high school marching percussion during fall semesters. Let's talk! 

Jim Nevermann
Sr. Technical Illustrator
Physio-Control Corporation
Redmond, WA
From: judya@sag4.ssl.berkeley.edu (Judy Acereto)
Newsgroups: rec.music.classical
Subject: Messiah Tix to Exchange
Date: 16 Dec 1992 01:21:17 GMT
Organization: Center for EUV Astrophysics
NNTP-Posting-Host: sag4.ssl.berkeley.edu
Summary: Friday Messiah for Sat/Sun?


I have two tickets to Friday 12/18's Messiah performance
I would like to exchange for either Saturday or Sunday.
They are only the 2nd tier, but if it will work for you
please let me know and we can negotiate - happy to make
sure you get your ticket price!  If anyone out there is
able to make this happen please let me know!  Thanks -

judya@cea.berkeley.edu       or   510-643-5641 days

Judy
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Date: 21 Dec 92 03:20:22 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

Of all: Mozart #23 in A, K488; of Beethoven: #4.

------------------------------------------------------------------------
					Tony Movshon

Internet:  movshon@nyu.edu		Howard Hughes Medical Institute
					Center for Neural Science
					New York University
Phone:	   (212) 998-7880		4 Washington Place, room 809
Fax:	   (212) 995-4183		New York, NY 10003
------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: symphonic music with electric instruments
Organization: University of Western Ontario
Date: Thu, 17 Dec 1992 01:37:25 GMT

Old hat. There is oodles of this stuff. Just off the top of my head: 
Leonard Bernstein "Mass" uses electric guitar; Pierre Boulez's "Repons" 
uses all sorts of electric manipulations of instruments; Messien wrote 
for Ondes Martinot. Lots of people are writing for Yamaha DX-7s and their 
ilk. How about "El Reposo del Fuego," written by Canadian composer John 
Oliver and performed at Laurier a couple of years back? You might also 
want to listen to his opera "Guacamayo's Old Song and Dance," which has 
electric guitar, DX-7 and all sorts of electronic stuff in addition to 
traditional instruments. I think Marius Constant's "Septentrion" uses 
electric guitar and maybe other electric instruments as well. Lots of 
this stuff--just can't think of it all right now.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Subject: Re: Singer: Heinrich Schlusslos [?]
Reply-To: nsh3@cunixf.cc.columbia.edu (Nadine S Harris)
Organization: Columbia University
Date: Mon, 14 Dec 1992 15:49:22 GMT

In article <CB.92Dec11130511@tamarack13.timbuk> cb@tamarack13.timbuk
(Chris Brewster) writes:
>
>I hope I have the name at least close--I heard his version of Mahler's
>Songs of a Wayfarer, on one of those syndicated late-night shows that
>aren't listed in my schedule.  The recording sounded pretty old.  This
>guy was great, quite different in tone from most voices we hear.  Anyone
>familiar with him?  Is the recording available?  (It's not in the
>Schwann I have.)

A great find.  Schlusnus was one of the greatest singers of the Thirties.
He was from Hamburg, I believe.  I don't know what happened to him
during the War.

He had a smooth lyric baritone, the weight of which is reminiscent
today of Fischer-Dieskau.  But it was technically superior.  He
is most well-remembered today for his lieder recordings.  He
made many recordings.  I am lucky enough to own a set that was
reissued in the Fifties.  

You cannot imagine the smoothness with which he sang Schubert.
Although he is a more suave performer, it has always seemed to
me that he represents the same approach as Hotter.  And this
sense of line and diction seems virtually to have disappeared.

He also performed frequently in the oepra.  The old recordings
do not give an idea of the weight of his voice.  He was very
well-loved in his day for Lohengrin and Tannhauser.

Nadine


Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: Sinopoli's "Madama Butterfly" recording
Organization: Indiana University
Date: Thu, 17 Dec 1992 19:04:48 GMT

In article <1992Dec17.121217.23097@visual.com> rwh@visual.com (Rob Holzel) writes:
>An earlier posting mentioned Freni in this set.  I'd like to bring
>up the entire recording as a whole.  Has anyone listened to this?  I'd
>especially appreciate some informed opinions from the likes of Jon Conrad
>and Vinh Nguyen.  

I am neither of the above, but I hope I may put in
my two cents worth without raising derision:-)

I agree with all that you've to say. And, as
you mentioned, this is a slower performance than most,
which, for some people, makes it somewhat less
enjoyable.

Not for me though. I thoroughly enjoyed this
performance. However, my first choice for Madame
Butterfly still remains the Karajan recording with
Pavarotti, Freni and Ludwig. Karajan decides to keep
the tempo slow as well, but what gorgeous conducting
this is! The Vienna Philharmonic sounds absolutely
ravishing, and the drama never feels slackened. 
The young voices of Pavarotti and Freni are at their
prime. This, I believe, is the most delectable
recording made by Freni (alongwith her Boheme, with
Karajan as well), a singer whose voice I have always
found beautiful in the most pure sense of the word.
Pavarotti brings forth his distinctive timbre, as
always, and sounds more ardent than he has done in his
recent recordings (this positive quality in his
singing is also evident in the Boheme recording, see
above, and his Turandot with Zubin Mehta). Christa
Ludwig never over-, or under-,plays Suzuki.

There have been many other good recordings of this
much recorded work, but I mention this one because it
is closest in spirit, and shares the principal singer,
with the Sinopoli recording. Not coincidentally, these
are also the most expensive in the catalog, as they
come full-priced and are on three discs!

				Sami Mitra
Newsgroups: rec.music.classical
From: duli@boulder.Colorado.EDU (Li Du)
Subject: Re: looking for CD of "Morning has broken"
Organization: University of Colorado, Boulder
Date: Mon, 14 Dec 1992 19:39:28 GMT

In article <1992Dec14.185625> qcg@casbah.acns.nwu.edu (Qing Guo) writes:
>There is a song "Morning has broken" sung by Cat Stivens. I already have this 
>CD. I once heard in radio the same melody played by an orchestra (no singer
>sings with the orchestra), it was very beautiful, but I don't know who played 
>it so I can not buy the CD.  Does anyone know any CD which includes either 
>the song or only the melody of "Morning has broken"?  Thanks.
>
	It's on Cat Stevens "The Greatest Hits". A&M CD-4519.

---------------------------------
 Li Du | duli@prony.colorado.edu
---------------------------------
From: rags@triples.math.mcgill.ca (Robert A. G. Seely)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's Symphonies
Date: 18 Dec 92 06:27:40 GMT
Organization: /etc/organization

In article <BzFqn0.CrE@ecf.toronto.edu> torenvl@ecf.toronto.edu (TORENVLIET GERARD LAWRENS) writes:
>This afternoon I was in a record store here in Toronto and noticed that 
>Sony has compiled many of their "Essential Classics" into box sets.  The one    
>that I was interested in, in particular, was a compilation of Beethoven's Nine
>Sypmphonies.
>
>Being on a student's budget, all nine of the symphonies in a $32.99 (Cdn.) box
>set is a good deal.  I am just wondering, is this a good recording?  It is one
>done by George Szell and the Cleveland Orchestra...
>
>...or should I hold out and spend $75 to get the Harnoncourt set?
>
>Regards,
>Gerard
>


Save $8 (CDN) and get the Karajan for under $25.  (The Harnoncourt may be
good, but a better value than the '63 Karajan set is hard to imagine.)

- rags
Newsgroups: rec.music.classical
From: tait@cs.columbia.edu (Carl Tait)
Subject: Re: The BEST finale!
Organization: Columbia University Department of Computer Science
Date: Thu, 17 Dec 1992 10:04:24 GMT

In article <1gnii7INNibh@master.cs.rose-hulman.edu>
stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
>
>What is YOUR favorite ending or finale to a classical piece?

For sheer, throat-catching beauty, three Ravel pieces get my vote:

Jeux d'eau: A gorgeous wash of major seventh chords

Valses nobles et sentimentales: The magical return of the second waltz
                                                        ,
Ma mere l'oye (orchestral version): The entire "Jardin feerique,"
   especially the pianissimo climax and the pure C major chord
   that emerges from the orchestral swirl at the end
From: loosemore-sandra@cs.yale.edu (Sandra Loosemore)
Newsgroups: rec.music.classical
Subject: Re: A Room With a View Music
Date: 14 Dec 1992 21:05:30 -0500
Organization: staff hacker @ Yale Haskell project
NNTP-Posting-Host: functor.systemsz.cs.yale.edu
In-reply-to: nsh3@cunixf.cc.columbia.edu's message of Mon, 14 Dec 1992 23:47:20 GMT

nsh3@cunixf.cc.columbia.edu (Nadine S Harris) writes:

   Another netter reminds me that some scenes include some of Doretta's
   song (Is it "Il SOGNO di Doretta"?) from Puccini's very early opera La
   Rondine.

Yes, this is used in the picnic on the hillside episode.  It's
actually very appropriate, since the scene is presented with a
dreamlike quality and involves a passionate kiss!  (Folle amore!
Folle ebbruzza!)

(Can you tell this is one of my favorite movies?)

-Sandra
Newsgroups: rec.music.classical