HDTenEightyP/NetNews huggingface dataset:
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: N. American Choral Concerts Jan. 15 - 31 (St. Olaf Choir)
Date: 10 Jan 93 22:00:31 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1171@dscatl.UUCP> mgresham@dscatl.UUCP (Mark Gresham) writes:
}In article <1993Jan10.021450.6424@news.stolaf.edu> hakari@lars.acc-admin.stolaf.edu (The Conformist Contrabass Clarinetist) writes:
}I hadn't planned on posting post-January concert dates just yet,
}but I'd be glad to give you one of those Southeastern dates:
}
}February 10, 1993 : St. Olaf Choir (Anton Armstrong, Director)
}  Glenn Memorial Auditorium, 1652 N. Decatur Rd.
}  Campus of Emory University

Uff da!  I guess the city would help, too: :-)
   Decatur, Georgia  (metro-Atlanta area)

}  7:30pm
}  $10 General Admission, No Refunds, Seats Held until 7:20pm
}
}The concert is sponsored by the Gwinnett Festival Singers, and
}the phone number for more information is (404) 466-3778
}(William O. Baker).  It's highly recommended that tickets
}be purchased in advance.

Cheers,

--Mark Gresham
dscatl!mgresham@gatech.edu
=====
"But I'm not Norwegian." --Anton Armstrong
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: carnival of the animals
Date: 7 Jan 93 15:22:25 GMT
Distribution: rec
Organization: Oxford University VAX 6620

In article <19935.4216.26421@dosgate>, alexander.inglis@canrem.com (alexander inglis) writes:
> 
> And it's a first-class *treat*, too. Well worth whatever trouble it
> takes to find a copy. But ... if you can't ... Karl Boehm and Hermione
> Gingold also did this on DGG in stereo in the mid-70s. Great stuff!

Unfortunately this is not available on CD. I was browsing through a DG
catalogue the other day looking for suitable wedding presents (I think we'll
stick to Hyperion, Gimell and Decca's Britten/Pears recordings) and came across
Der Karnaval des Tieres (?????) und Peter und das Wolf mit Karl Boehm
spreching and Le Carnaval des animaux et Pierre et le loup avec ANOther parlant
but not Hermione Gingold. The same cover, the same performances, but not in
English. (Spot the person with rusty languages.) The only
English version of Peter and the Wolf is the one narrated by Sting. Being a
comercially clued-up sort of person I expect he's had a clause inserted in his
contract that DG release no other English language Peter and the Wolf on CD.
-- 

Stephen Wilcox             |   For Sale: Posts in British Government. Suit
wilcox@vax.oxford.ac.uk    |   outgoing American. Highest bids accepted.
Newsgroups: rec.music.classical
From: syliao@athena.mit.edu (Stan Yi-Huang Liao)
Subject: Re: Favourite Organ Work Survey
Organization: Massachusetts Institute of Technology
Date: Mon, 4 Jan 1993 23:16:03 GMT

mrapple@quack.sac.ca.us (Nick Sayer) writes:
> ObOrgan: Tochata & Fugue in D minor, JSB. The
> famous one. Overused, but undeniably excellent.

There are some disputes on the authenticity of BWV 565.  Is there a
convincing proof/disproof on this matter?

Stan

Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: There's nothing wrong with Bolero
Organization: Open Software Foundation
Date: Tue, 12 Jan 1993 13:27:33 GMT

hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
| Harold Smoliar
| English horn, Pittsburgh Symphony

'course, the real reason Harold likes Bolero is it gives him a chance to
show off that dusty oboe d'amore...
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Shine out, fair sun, with all your heat!  Black winter freezes to his seat...
The boneless fish close quaking lies...the stars in icicles arise!
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: There's nothing wrong with Bolero
Date: 12 Jan 93 19:26:30 GMT
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston
NNTP-Posting-Host: elroy.uh.edu

[...]
>
>>>     Well, before this turns out to be a totally irrelevant post, let
>>>me try and save it.  What other "classical" pieces you know of that
>>>have been "tainted" by movies?
>
>I thought when I saw "A Clockwork Orange" that I would never be able to listen
>to Beethoven's 9th Symphony again without rather unpleasant associations but,
>funnily, I've never had that problem; so there's a superb example of a piece
[...]
>
>Martin Watts.


*A Clockwork Orange* is one thing.  "Look how safely we ship oil" Exxon(TM) 
commercials are quite another...  That has got to be my all-time worst example 
of abuse of classical music 

(it features the final movement of the *Choral* symphony, and "performing
animals," for those lucky enough not to have seen the ad). 

Bill

+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: My Christmas CDs
Organization: University of Western Ontario
Date: Mon, 4 Jan 1993 21:36:20 GMT

All given to myself, unfortunately. Nobody else even tries anymore.

Perotin                         Organum (Hilliard Ensemble) Gorgeous
Hilliard Ensemble               Sampler. Great deal at $7.99
Roussel conducts Roussel        Badly underrated composer who wrote some 
                                excellent music. Much here well-played. 
                                At any rate, the price is very right.
Chabrier                        Piano Music (Jean Cassedesus)

Best I could do in my impoverished, studently state.I spent a lot of time 
salivating over post-Christmas sales. Oh for a spare million or two.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: Voice Leading Correction
Date: 11 Jan 1993 11:55:43 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <C0oBKK.M0L@undergrad.math.waterloo.edu> kldawkin@undergrad.math.waterloo.edu (Kiwi) writes:
>Greetings all... I am writing a program in C that will general take
>four-part voice-leading assignments (or Bach Chorales as the case may
>be), and search them for various errors....
>but there are a few tough ones and I was wondering
>if anyone has elegant solutions for them... for example,
>the old "never double a leading tone" rule is awfully simple to understand
>for us, but you try telling a computer exactly what a leading tone *is*
>and *when* it's a leading tone, and things get a little more complex.

Normally this rule is merely a restatement of the "no parallel octaves"
rule. It exists mainly because leading tones normally resolve a half-
step up, and, of course, if you've got two leading tones, their resolution
will either result in parallel octaves or parallel unisons. Of course
there are exceptions (as there are to all of these "rules"), but I would
say skip it for now.

>Also, unresolved leading tones are a problem, as are unresolved sevenths

I would look at the intervals from the bass. If there exists a perfect
fourth, diminished fifth, or minor seventh, (or any compound interval
version, of course) the voice which forms that interval with the bass
should be a half-step lower in the following chord. Some other dissonances
are harder to spot algorithmically (not to mention for Renaissance
theorists, who always looked at the voices in relation to the bass,
and thus introduced the notion of the perfect fourth being a "dissonance.")

Bill
From: fischer@iesd.auc.dk (Lars Peter Fischer)
Newsgroups: rec.music.classical
Subject: Re: "Mob" version of Peter and the Wolf
Date: 9 Jan 93 03:00:19 GMT
Organization: Mathematics and Computer Science, Aalborg University


Reminds me of the absolutely best version of Peter and the Wolf I ever
saw, with the Danish Radio SO and Peter Ustinov reading the text -- in
Danish. Ustinov had this combination of drama and humor that is just
right. 

/Lars
--
Lars Fischer, fischer@iesd.auc.dk | It takes an uncommon mind to think of
CS Dept., Aalborg Univ., DENMARK. | these things.  -- Calvin
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico ( paganini's admirer )
Subject: water mountain music suite???
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Thu, 7 Jan 1993 00:32:42 GMT


Anyone know this piece?  I heard on KKHI, SF a few weeks back and missed the whole
description.  It is by a polish composer for a pplish 60's movie score.  It was quite
beautiful.  Any info on it is highly appreciated.

Thanks in advance,

Please email directly.

David W.    
Newsgroups: rec.music.classical
From: hakari@lars.acc-admin.stolaf.edu (The Conformist Contrabass Clarinetist)
Subject: Re: N. American Choral Concerts Jan. 15 - 31 (King's Singers)
Organization: St. Olaf College; Northfield, MN
Date: Mon, 11 Jan 1993 02:48:23 GMT

In article <1172@dscatl.UUCP> mgresham@dscatl.UUCP (Mark Gresham) writes:

>  Sheet music isn't normally available at the concerts.  However,
>much of their music is available through Hinshaw, Oxford, and
>so-forth.  Try a major choral mail-order warehouse like J.W.
>Pepper.


What is the address for J.W. Pepper?

--Andrea, contrabass clarinetist extraordinaire and diehard alto




Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: When did Ives stop composing?
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Mon, 4 Jan 1993 20:58:59 GMT


--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Tournemire PIANO works
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Sat, 9 Jan 1993 18:17:19 GMT

Yesterday in Boston on the shelves of Tower Records, I saw a new disc from
Accord by Marie-Catherine Girod playing the Etudes du chaque jour and the
Douze Preludes-Poemes.  It looks to be a good recording, but I couldn't
afford to buy it for a listen.

T. M. McComb

Newsgroups: rec.music.classical
From: mls@panix.com (Michael Siemon)
Subject: Re: Bruckner (was: Re: Best finale)
Summary:  majestic is in the ear of the listener
Organization: Panix Public Access Internet & Unix, NYC
Date: Mon, 4 Jan 1993 05:21:25 GMT

In article <Jan.3.18.02.15.1993.16049@math.rutgers.edu> bwalsh@math.rutgers.edu (Bertram Walsh) writes:

>>"Imagine that you're walking in the Alps.  You look up at a majestic,
>>snow-covered mountain.  That is Mahler.  Then you look down at the
>>wild flowers growing at your feet.  That is Bruckner."

>Exactly backward, except that the flowers are cultivated.

Well, Bruckner DOES seem (so far as I can comprehend) to *want* to be
"majestic."  There would seem to be some dispute about whether he
manages to achieve this goal...
-- 
Michael L. Siemon	"The Cramers and the Smiths,
mls@panix.com		 let them be the warning bells.
			 They tell us when we're
			 cutting our own throats." -- Jess Anderson
Newsgroups: rec.music.classical
From: brea9430@mach1.wlu.ca (breadner ken u)
Subject: Re: Musical term query
Organization: Wilfrid Laurier University
Date: Sun, 10 Jan 1993 22:38:05 GMT

In article <1ipu7jINNddm@msuinfo.cl.msu.edu> fernande@cps.msu.edu (Jose Roberto Fernandez) writes:
>Is there a word/term that refers to the ability to play some piece
>of music just by hearing it?  If so, what is it?

Stupid, I know, but I've always thought this was called "playing by ear".
I don't know of any other term...

-- 
Ken Breadner          |Wilfrid Laurier University, Waterloo, Canada
brea9430@mach1.wlu.ca |"Life is what happens when you're busy making other
(the BREADbox...)     |plans" --John Lennon
Disclaimer: you mean somebody's taking something I said SERIOUSLY?
Newsgroups: rec.music.classical
From: kelsey@casbah.acns.nwu.edu (chris kelsey)
Subject: Re: John Holloway
Organization: Northwestern University, Evanston Illinois.
Distribution: usa
Date: Sat, 9 Jan 1993 07:30:14 GMT

In article <1993Jan7.170831.5165@midway.uchicago.edu> gustavo@dent.uchicago.edu (Gustavo Comezana) writes:
>I understand that early music violinist John Holloway will be playing
>at Northwestern U. sometime this month. Does anybody have info on date of
>concert and program to be played? 

FEBRUARY 17 (that's a wednesday...).  Program includes Purcell, Gabrieli,
Biber, Schmelzer, and Pachelbel.  708-491-5441 for more info.

.
Newsgroups: rec.music.classical
From: rwd4f@poe.acc.Virginia.EDU (Rob Dobson)
Subject: Virtuoso Oboes
Organization: University of Virginia
Date: Tue, 12 Jan 1993 21:25:33 GMT


So, who ARE the virtuoso oboe players these days? I was stumped by this
question last night. With most instruments I can recommend one or more
players who play their instrument exceptionally well, but when asked
"who should I look for when trying to buy oboe music?" i draw a blank.
Any help? Email or post.

Rob

Newsgroups: rec.music.classical
From: kiisaka@csi.uottawa.ca (Ken Iisaka (the mad pianist))
Subject: Re: Anybody heard of Gliere?
Organization: Dept. of Computer Science, University of Ottawa
Date: Wed, 13 Jan 93 05:30:13 GMT

He composed an interesting collection of cello duos...
-- 
Ken Iisaka
kiisaka@csi.uottawa.ca                     <Space for rent>
AI Lab, University of Ottawa                       <Espace a louer>
H: +1 613 237 6642  W: 564 8155
From: rlk@underprize.think.com (Robert Krawitz)
Newsgroups: rec.music.classical
Subject: Re: Christopher Rouse
Date: 5 Jan 93 12:57:46
Organization: Thinking Machines Corporation, Cambridge Mass., USA
NNTP-Posting-Host: underprize.think.com
In-reply-to: rafem@gvlf8-k.gvl.unisys.com's message of Tue, 5 Jan 1993 16:15:42 GMT

In article <1993Jan5.161542.10546@gvl.unisys.com> rafem@gvlf8-k.gvl.unisys.com (Ralph Marrone) writes:

   The Sunday New York Times had an article on Christopher Rouse.  Has
   anyone heard any performances of his work?  Is he worth investigating?
   Are any recordings available on CD?

I heard a piece of his (a one movement symphony) performed by the BSO
about 3 years ago.  It was a rather intense, brutal work that I didn't
much care for personally.  It may have been recorded by Baltimore/Zinman
(?), who I think commissioned it.
--
ames >>>>>>>>>  |	Robert Krawitz <rlk@think.com>	245 First St.
bloom-beacon >  |think!rlk				Cambridge, MA  02142
harvard >>>>>>  .	Thinking Machines Corp.		(617)234-2116

Member of the League for Programming Freedom -- write lpf@uunet.uu.net
Xref: sparky rec.music.classical:19830 ny.general:517
From: acid+@cs.cmu.edu (Christopher Colby)
Newsgroups: rec.music.classical,ny.general
Subject: Re: Pittsburgh Symphony Wins New York Times Award
Date: 7 Jan 93 06:28:44 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <C0Got4.HoF.1@cs.cmu.edu> hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
>In article <C0GHzF.Cos.1@cs.cmu.edu> acid+@cs.cmu.edu (Christopher Colby) writes:
>The New York Times thought that both of our Fall concerts in Carnegie Hall
>were great--all of the NY papers loved us except for Long Island Newsday
>and their pan was mostly of Maazel, not the orchestra.

I stand corrected, then.  My apologies.  I was told by a friend who works
for the Met that the Fidelio was strongly panned by the papers.  Apparently
I was misinformed.

>>Speaking of which, I don't know much about orchestras in other cities, but
>>after living in Pittsburgh for a few years now, I've come to realize that
>>this whole organization needs an enema, and I'm not just talking about
>>performance quality.  In the future, I'll be putting my money elsewhere.
>
>Could you be more specific please?  What exactly are you displeased with?
>I ask as a concerned member of the orchestra.

First let me say that I have no problems with the members of the orchestra,
and I should have made that clear.  What I don't like is the management,
but I probably shouldn't be more specific in a public forum.  In
retrospect, my original post serves no useful purpose on r.m.c., and I may
as well recind it.

-chris
From: etlanar@yogi.ericsson.se (Alan Arthur)
Newsgroups: rec.music.classical
Subject: Huenter Kradaken CDs
Date: 6 Jan 93 08:49:23 GMT
Organization: Ericsson Cellular Division


I think some people are maybe getting a bit carried away with Kradaken's biographical
accounts, so lets try and restrain ourselves a bit. 

To change track a little, has anyone been able to find any performances of Kradaken's
work on CD? Ive checked every CD catalogue I could lay my hands on, but couldn't find
any references to him. If someone could point me in the right direction I'd be grateful.

Please reply in e-mail, dont post.


Alan
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Q: Inbal's Mahler
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Wed, 6 Jan 1993 21:34:02 GMT

pieterh@sci.kun.nl (Peter Herweijer) writes:
: I can get Eliahu(sp?) Inbal's discs of Mahler symphonies (and more)
: on Denon very cheap. Now I've heard very little about these (though
: what I've heard is not negative) and I wondered if there are any
: net.people that can give me their opinion about these versions. Are
: they any good? How do they compare, say, to the likes of Horenstein
: Walter Klemperer and Barbirolli?

I have Inbal's 1st and it is very good, but not of the top rank. The
mainj selling point of these recordings, as I recall from their first
issues, was the minimalist-microphone recording techniques, resulting
in a nice natural sound.

Few people compare to Horenstein, Walter, Klemperer and Barbirolli in
Mahler. Except Bernstein (in No. 8) and Kubelik (in No.1)

For more details ftp [.MISC]MAHLER.TXT from camins.camosun.bc.ca

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: So exactly what's wrong with Bolero, anyway?
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Fri, 8 Jan 1993 16:20:25 GMT

In article <73155@cup.portal.com> Bill_P_Pearce@cup.portal.com writes:
>   For me, anyway, what's wrong with Bolero is that when you've heard it
>once there really isn't any reason to listen to it ever again.  It's a
>cute exercise in orchestration, but like the composer himself, I find
>very little music in it.  Of course, it does beat listening to Orff's
>Carmina Burana ........

Now that I think of it (in the few seconds since I responded to the 
previous article), Bolero is Ravel's final inside joke.  La Valse is
perhaps the high point; many of his other archaicizing pieces -- ones
that refer to musical styles of the past -- join in this sequence.  They
are commentaries on the musical and cultural state of the world in his 
time, on the bygoneness of unselfconscious music.  La Valse certainly
spends most of its time reminiscing and looking nervously over its
shoulder and trying to get the old magic back.  Bolero cuts to the 
chase, so to speak; none of these big Ideas that Classical Music (tm)
had been working at in the past.  This is simply a Build to a Climax,
with nothing really terrific at the end, just this sudden collapse.
In other words, a fifteen-minute fuck.

Roger

Newsgroups: rec.music.classical
From: hcresnic@quads.uchicago.edu (hugh carney resnick)
Subject: Edward Elgar, Op. 83
Reply-To: hcresnic@midway.uchicago.edu
Organization: University of Chicago
Date: Tue, 12 Jan 1993 04:40:48 GMT

I have just purchased "The Dream of Gerontius" CD with the London SO+Chorus
directed by Hickox, all on Chandos. The piece is marvelous, but I'm not sure 
of the performance. Any comments or criticism?

hugh
-- 
_________________________________________________________________________
Hugh C. Resnick 				The University of Chicago
Send e-mail to: hcresnic@midway.uchicago.edu	   Graduate Music Program
_________________________________________________________________________
From: hbaldwin@mizar.usc.edu (Harry Baldwin)
Newsgroups: rec.music.classical
Subject: Re: There's nothing wrong with Bolero
Date: 11 Jan 1993 12:06:10 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: mizar.usc.edu

In article <wcN3wB3w165w@student.business.uwo.ca> r4smith@student.business.uwo.ca (Richard Smith) writes:
>Bolero is a tour-de-force of construction and orchestration and well 
>worth paying close attention to. The distasteful remarks are due to the 
>fact that it has been overplayed in the past and has reached "warhorse" 
>status. Musicians (especially those with a musicological bent) have a 
>pathological distaste for warhorses. Just ignore them. Listen and enjoy.

Yes and no.  There's 'nothing wrong with Bolero,' it's true, but I don't think it's necessarily 'pathological' to retire it from one's listening for a while 
so it could sound fresh again. Ever since the film 10 Bolero has been a  repeated request on classical radio, and after KUSC in LA played it thrice in a week
(instead of playing some other pieces by Ravel that they never play) even I who dearly love Ravel was gagging. I like plenty of warhorses; I just would rather not have them galloping past me that often when there are alternatives.  Maybe there should be a top 40 classical station in which those who like endless repeats could indulge themselves.  Ravel himself said (loosely paraphrased) that Bolero is a 'work of genius; unfortunately there's not a note of music in it."
But I did love the use of it in Allegro con Tropo; the dinosaur motif was far
superior to Disney's Sacre du Printemps in Fantasia.
Newsgroups: rec.music.classical
Subject: Re: Favourite Organ Work Survey
From: <MHUGHES@MIAMIU.BITNET>
Date: Thursday, 31 Dec 1992 14:49:25 EST
Organization: Miami University - Academic Computer Service

In article <Bzr24E.ApJ@CAM.ORG>, yedid@CAM.ORG (Gabriel Yedid) says:
>
>     I notice there are a lot of these "favourite" surveys cropping
>up.  Figure I may as well start one of my own.  My question to you all
>is:  What is your favourite organ work, that is, if you have one?  Even
>among my friends that do enjoy classical, there are still a great many
>who think that the organ's sole reason for existing is to satisfy
>ecclesiastical needs.  True, it does this very well (depending on
>which church), but it is a limited and narrow viewpoint, and doesn't
>take into account the large volume of non-religious work out there.  I'm
>interested in hearing from you.
>

I am an avid organ fan and have a few nominations in each category:

Favourite work:       Widor      Symphonies Gothique (Op 70) and Romane (Op 73)
                      Dupre      Symphonie Passion, Op 23
Darkest Work:         Reubke     Sonata on the 94th Psalm
                      Dupre      Le Chemin de la Croix, Op 29
Most Beautiful Work:  Bach       Wachet auf ruft uns die Stimme, BWV645
                      Dupre      Cortege et Litanie, Op 19 no 2
                      Tournemire Fresque Symphonique Sacree No 2
                      Durufle    Prelude and fugue on the name ALAIN, Op 7
Most Exciting Work:   Alain      Litanies
                      Vierne     Les Cloches de Hinckley (Pieces de Fantasie)
                      Durufle    Suite, Op 5 (especially the Toccata)
                      Bach       Prelude and fugue in d minor, BWV532
                      Weitz      Symphony No 1
Weirdest:             Messiaen   Livre du Saint Sacrement

For me at least, some pieces cross over to several categories.

Cheers, Mike Hughes
Newsgroups: rec.music.classical