HDTenEightyP/NetNews huggingface dataset:
From: mar@milp.jsc.nasa.gov (Mel Melllkish)
Subject: Re: Bach's Sonata & Partita Vln Solo: Recording recommendations
Organization: Loral Space Information Systems
Date: Mon, 25 Jan 1993 21:06:40 GMT

In article <1993Jan25.160740.9156@samba.oit.unc.edu>, Jim Hahn <jhahn@gibbs.oit.unc.edu> writes:
|> In article <42896@unix.SRI.COM> Ray Perrault, perrault@AI.SRI.COM writes:
|> >I still treasure my old Odyssey set by Szeryng.  
|> 
|> As do I. When I studied the sonatas and partitas, I spent literally
|> hundreds of hours listening to various artists and without a doubt,
|> Szerying is unsurpassed in his interpretation. I still get chills
|> whenever I hear him play the the fugues - the chaconne is a spiritual
|> experience.

All these rave reviews about Szeryng have got me wonderin. Much of what
I've been reading about his solo sonata recordings is very similar
to what I feel about my prized version of Bach's solo sonatas.  My favorite
version is the 1930's recording made by Joseph Szigeti. Unfortunately,
to the best of my knowledge, he only recorded the first and second sonatas back
then. Nevertheless, I have never heard any recordings that touched these.

However, I have also never heard the Szeryng version so I'd be very interested
in any comparative comments by anyone who has heard both these versions.


							Avec fromage,
							Mel
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Boosey sues Disney
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Sun, 24 Jan 1993 05:58:56 GMT

In the New York Times of Friday, Jan. 22 (page. B3) was an article on
how Boosey & Hawkes is suing Walt Disney Corp. for selling videocassettes
of FANTASIA.  B & H claims that "Stravinsky never granted the right to
use it [Rite of Spring] in any medium or by any other form of distribution."
The article also mentions a pending lawsuit by the Philadelphia Orchestra
also against Disney's selling of videocassettes of FANTASIA.

I would copy portions of the article for readers of r.m.c., but just 
reading about copyright makes me scared!  As there is no source of an
international news distribution (e.g. AP, UPI), I assumed this article
only made the local paper, as the suit was in Manhattan District Court.
Better pick up your videos soon!

Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Seeking comments on BBC Classical Music Magazine
Organization: Visual
Date: Mon, 25 Jan 93 19:44:46 GMT

Rouben Rostamian writes:

>My understanding is
>that the first issue has not yet appeared. 

No, it has at least been on newstands here in Boston for a few months
now.  (I also saw it in stores in Ohio.)  

Maybe the "charter subscription" refers to the whole idea of starting
up a home subscription service in the States.  

The issue I bought included the Nielsen Second and Sibelius Fifth on
the CD.  Both were very good performances, not quite "first choices"
but certainly competitive.  The editorial content of the magazine 
seems colorful, a bit slick, but perfectly agreeable.  I don't think
I'd go so far as to subscribe, but that's only because it seems a lot
of what they include on the CD duplicates what I already have in my
collection.

There's yet another "free CD" magazine that comes out of Britain, in
addition to BBC Classical and Classic CD -- but I've forgotten the
name!  :-(  

A lot of contemporary music magazines (like Spin) are starting to 
include CDs too.

Rob




Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: Sunday morning music selection
Organization: Credence Systems Corp. Beaverton, OR
Distribution: na
Date: Tue, 26 Jan 1993 01:05:31 GMT

In article <1993Jan25.000047.6572@itsmail1.hamilton.edu> pdorman@itsmail1.hamilton.edu (Peter Dorman) writes:

>If it's summer, try Lou Harrison for a change.  Close your eyes and
>pretend you're somewhere around Big Sur.

WHICH Lou Harrison (pieces)?  After hearing five or six hours worth of
his music at his 75th birthday celebration in Portland last year, I'd
guess he's written in about five or six distinct styles.

But maybe that's the point of the suggestion - like listening to St. Paul
Sunday Morning that someone else suggested.

						Jeff Winslow
Newsgroups: rec.music.classical
From: eclipse@netcom.com (Brian McCullough)
Subject: Re: P.D.Q. Bach (Was Re: Vocal contributions from the orchestra (Was Re: ..... Bolero))
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Sat, 23 Jan 1993 21:19:03 GMT

dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
: mkahn@casbah.acns.nwu.edu (Michael Kahn) writes:
: : 
: : This is arguably not either a vocal contribution nor classical music, but
: : since someone earlier brought up P.D.Q. Bach I guess I will too. P.D.Q. Bach's
: : Grand Serenade for an Awful Lot of Winds and Percussion calls for the oboes,
: : clarinets, and trumpets to play on their mouthpieces (or reeds) without the
: : rest of the instrument. Also, the clarinet section gargles water in tempo.
: 
: I have to ask. Does anybody else find P.D.Q. Bach as crashingly
: unfunny as I do? I confess to being unfamiliar with much earlier
: stuff, but I recently received a copy of Music for an Awful lot of
: Winds and Percussion. I'm sorry, I just can't see the joke. The titles
: are the funniest thing, and they're not *that* funny.
: 
: There's more amusement in 5 minutes of a Hoffnung concert than the
: whole of this recording.
: 
: Is it me?
: 
: --
: Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
: Email: (dbarker@spang.camosun.bc.ca)
: Phone: +1 604 370 4452
Could be.  I suspect it depends on your attitude toward puns: whether or
not they are funny.  Most of Schickele's humor (even the stuff in the music)
strikes me as puns in one way or another.


-- 
---------------------------------
Brian C. McCullough   eclipse@netcom.netcom.com  Opinions of self only

"The early worm goes forth with zeal to give the hungry birds a meal.
His brother has no such intention, and lives to draw his old-age pension."
         -Montagu C. Butler
Newsgroups: rec.music.classical
From: pj@linz.ensmp.fr (Pierre JOUVELOT <jouvelot@cri.ensmp.fr>)
Newsgroups: rec.music.classical
Subject: Re: Mahler 7
Date: 27 Jan 93 19:00:23 GMT
	<1993Jan26.230654.15501@CSD-NewsHost.Stanford.EDU>
Organization: Ecole des Mines de Paris, France


In article <1993Jan26.230654.15501@CSD-NewsHost.Stanford.EDU>
mjw@Xenon.Stanford.EDU (Michael Wolverton) writes: 

   I haven't heard any of the competitors, but for me
   the Inbal is one of those "I can't imagine a better recording"
   recordings.  In fact, if someone were to ask me to show them some
   great orchestral brass playing (and great first trumpet playing in
   particular), I'd without hesitation grab the Inbal recording of the
   7th from my shelf and put on the last movement.  This from the
   Frankfurt *Radio* Symphony?!!!

   Anyone else know this recording?

Yes.  I actually went back to my record store to swap my previously
bought Bernstein's set with the Inbal's set.  The 7th is much better (in
particular, the very beginning of the 7th's final is unbearable in
Bernstein's version) as is the 8th.  I nonetheless bought Bernstein's
6th separately; the beginning of the final is so awesome!

Inbal probably suffers in the US from his relative lack of fame, as well
as the one of has orchestra.

Pierre
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Brumel review
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Mon, 25 Jan 1993 20:31:14 GMT

For what it's worth, the New Grove does not give enumeration of voices for
this work -- it is stated to be a 12, and mention is made of an unusual
conglomeration (their word) of low voices perhaps reflecting Brumel's
experience with large vocal forces.

Also, I should apologize for my excessive disparagement of the Tallis
Scholars -- they are a fine group and a credit to the recording industry.
My only point was that they have a definite sound and style which works
better in some works than in others.

T. M. McComb

Newsgroups: rec.music.classical
From: mkahn@merle.acns.nwu.edu (Michael Kahn)
Subject: Re: Music killed by movies
Organization: Northwestern University, Evanston Illinois.
Date: Sat, 23 Jan 1993 22:16:54 GMT

In article <1993Jan23.214627.28304@netcom.com> eclipse@netcom.com (Brian McCullough) writes:
>
>Piece:  "Rhapsody in Blue"; Composer:  George Gershwin
>Culprit:  United Airlines
>
>   The cheesy arrangements only rub salt in.  AAARRRGH!

If memory serves, UPS also used Rhapsody in Blue in commercials glorifying how
squeaky-clean their planes were and how that sped up delivery times -- *NOT*

--Michael Kahn






Newsgroups: rec.music.classical
From: jeffw@or.credence.com (Jeff Winslow)
Subject: Re: Brahms Basher Repents
Organization: Credence Systems Corp. Beaverton, OR
Date: Tue, 26 Jan 1993 01:33:45 GMT

In article <1993Jan23.153030.12798@hubcap.clemson.edu> jtbell@hubcap.clemson.edu (Jon Bell) writes:

>I heard there featured Kurt Masur conducting the Leipzig Gewandhaus Orchestra,
>and the second half of the program was the Brahms First.  I almost left at
>intermission, but finally decided, "what the hell, I've paid for it already,
>I might as well hear it."  Fifteen minutes later my mouth was hanging open
>in astonishment... did Brahms really sound like _that_?  

Heh. I can't say I went into college with no appreciation for Brahms. On the
contrary, I loved much of the late piano music. But that was about all I knew.
Then I met a guy who liked the 1st Symphony so much he had been making his own
two-piano transcription of it, and he showed the first half-dozen pages to me.
I had exactly the same reaction - did Brahms really write a piece like *that*?

That F# minor triad over C ought to wake anyone up.

						Jeff Winslow
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Newsgroups: rec.music.classical
Subject: Re: Should I join BMG?
Date: 27 Jan 93 22:18:26 GMT
Organization: Homewood Academic Computing, Johns Hopkins University, Baltimore, Md, USA
NNTP-Posting-Host: jhunix.hcf.jhu.edu

In article <1993Jan26.010042.28287@noose.ecn.purdue.edu> lungtt@gus.ecn.purdue.edu (Terence T. Lung) writes:
>In article <1993Jan25.140339.21538@hemlock.cray.com> dadams@cray.com writes:
>>
>>I've been thinking this one over.  Is the music selection offered anything to
>>write home about?  Is it worth the hassle?  Is it worth the stamp you have to
>>spend every month to send the dumb card back to tell them not to send anything
>>this month?   
>
>I guess this depends on your own taste in selections.  
>In my case, I don't care for BMG.  With the price of shipping
>and handling that you pay for the freebies, etc, I remember 
>the price of the CDs averaging from around $7 and up.  That's
>not bad.  But when you don't see anything you like in their
>catalogs from one month to the next over the course of a few
>years, it becomes a drag.  To me, the catalogs seem to list
>mostly the same things over and over again.  I think I've even
>telephoned BMG to see if they have in stock those recordings
>that I am looking for but don't seem to be in their catalogs.
>By and large, what you see in the catalogs is what you get.
>I'm picky and consider most of BMG's classical selections to be 
>second-rate recordings.
>
>I have seen a couple things to my liking like the Heifetz
>Beethoven/Brahms violin concerto RCA recording.  But it's not
>going to be worth it to have to "buy" [even though the first
>batch will be free, you still pay for postage] along with it, 
>three to seven other things that you don't care for.

You only need to "buy" 2 other CDs to bring the price down to $7 apiece.

I think it is a matter of taste and the current state of your collection.
If you have a lot of CDs already, and are very picky about what you 
want to add to your collection, then the club may not be for you. A CD
club is not the place to look for specific CDs: your local independent
CD store is, if you have one. At the point where I am (1/5th of Chris
Brewster's collection) I still find things to add.

In 3 years I only forgot to send the card back twice; it's a habit you
can form. You have a good month to send it back. As for the selection, 
I have bought Hildegard von Bingen, Couperin, Schuetz, Rameau, Albeniz,
Lully, Leclair, Granados, and a collection of barber shop quartets :-) to 
name a few. The BMG club has quite a few Deutsche Harmonia Mundi, although 
no Franzoesische HM, Teldec, Philips, DG, etc.  This month's catalog 
has the Lisbon Traviata, recently discussed on r.m.c. They cover most
genres and most periods. No membership fees, no minimum purchase, I think
it's a reasonably hastle-free club. It is not my only or main source of CDs,
but it is a nice complement. IMHO.

Disclaimer: since this is the second time I preach on the BMG club, I am
not an employee or shareholder of BMG; I do get a 3-free-CDs kickback on
every person I sign up, though.

-- 

	Francois Velde
Newsgroups: rec.music.classical
From: daz@mullian.ee.mu.OZ.AU (Darren Primm)
Subject: Re: Mahler 7
Organization: Computer Science, University of Melbourne, Australia
Date: Mon, 25 Jan 1993 21:45:23 GMT

rbrooks1@cc.swarthmore.edu (Robert Brooks) writes:

>Picked up the DG Bernstein Mahler 7 yesterday from Philly Tower Records and
>it completely blew me away (thanks Deryk ;-) ).  I saw the Horenstein too
>but I'm afraid I fell into the digital trap in deciding which version to buy
>(it's my first) although I do intend to pick it (Horenstein) up at some
>point.  Anyone else want to comment on their favorite 7? 


What is Rattle's new Mahler 7th like?

Daz.
--
  Darren (Dazza) Primm, Dept EE Eng, Melb Uni, Parkville, 3052, Australia
 "There's no point in being grown up if you can't be childish, sometimes."
   Internet: daz@mullian.ee.mu.oz.au  [dazza@ecr.mu.oz.au]  IRC: Family

Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Re: Brumel review
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Sat, 23 Jan 1993 18:16:28 GMT

In article <1275@dscatl.UUCP> Mark Gresham writes:
>While is sounds like the argument is about classification of parts
>would you both concede the possibilty that the composer was
>explicitly writing for the particular group singers he had
>at his disposal, regardless of the classifications, et al.?
>  Therefore, if you must classify the voices, wouldn't it be
>most practical, even in modern performance practice, to examine
>the ranges and tessituras and select singers accordingly?  Assuming
>that a modern ensemble also has a practical limitation on their own
>resources, they'd have to make certain compromises in this regard
>or simply not program the piece.  Simply stated: we do those kinds
>of things all the time as conductors and vocal ensembles.  I would
>not doubt that Brumel did too.

It seems plausible that the lines in question were notated as tenors,
but that the written ranges differ from high to low among those parts.
In our ignorance of the source material, we don't know what else to say.

You bring up two interesting points, though.  First, what is the history
of the classification of voices into discrete groups?  How well developed
was it at this time?  Second, it seems unlikely to me that Brumel's
position in one of the most powerful and musically-oriented courts in
Europe would entail much in the way of practical limitation in obtaining
singers.  However, one wonders how voice classes would affect the matter.
If a singer was hired as a tenor (assuming such things were the case), was
he expected to be able to sing a specific range?  You are probably right
in that the wide range in the tenor voices in this mass was inspired by
the abilities of the singers Brumel knew -- sources actually state that
Ockeghem was a terrific bass, and conjecture that this contributed to his
development of bass lines.

Does anyone have some concrete historical information on this matter?

T. M. McComb

Newsgroups: rec.music.classical
From: tony@cns.nyu.edu (Tony Movshon)
Subject: Re: Mahler 7
Reply-To: tony@cns.nyu.edu
Organization: New York University
Date: Tue, 26 Jan 1993 04:09:45 GMT

I share the already-stated enthusiasm for the Solti and Abbado Chicago
versions, giving the edge to Solti for sheer drive and power (and also
for the recording, which has more atmosphere and clarity, even though it
is analog). I'd also like to put in a pitch for the Klemperer, as the
*second* recording to get. It's undeniably eccentric (the tempos are 
astonishingly slow in the outer movements, fully 50% slower than Solti
in places), but extraordinarily revealing of the work's structure and
design -- it's almost like one of those exploded diagrams that shows
you how all the pieces of a complicated gadget fit together. Not for
everyday listening, but indispensible nonetheless.

------------------------------------------------------------------------
					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: ca_ac@gsbacd.uchicago.edu
Subject: Re: Bach's Sonata & Partita Vln Solo: Recording recommendations
Organization: 
Date: Fri, 22 Jan 1993 17:25:01 GMT

In article <C19BD8.7KB@dcs.glasgow.ac.uk>, jack@dcs.glasgow.ac.uk (Jack Campin) writes:
> Did Ruggiero Ricci ever record a set of these?  I once heard him playing
> the E Major Partita live: about the most spinecrawlingly astonishing violin
> playing I've ever heard.  Could he do as well in the studio?
> 
> -- 
> --  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
From: dgold@basso.actrix.gen.nz (Dale Gold)
Newsgroups: rec.music.classical
Subject: Re: Trouble with Syracuse Symphony
Date: 27 Jan 93 20:28:22 PST
Organization: New Zealand Symphony Orchestra

Quoted from <20017@mindlink.bc.ca> by a4369@mindlink.bc.ca (Mike Quigley#2):
> In the local paper the other day, there was a brief article about the
> Syracuse Symphony, how they had just appointed a guy named Fabio Mechetti as
> music director, replacing Kazuyoshi Akiyama. It went on to say that
> "Akiyama's salary, reported to be $140,000 US a season, was criticized last
> year when the 31-year-old orchestra was forced to suspend its performances
> for seven months after running out of cash and falling $1.2 million in debt."
> 
> Does anyone have any more details about this?

No - but it sounds like a bargain for a conductor these days.  Big name
soloists would make that in 3 or 4 performances.

Dale

--
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand
Newsgroups: rec.music.classical
From: gal@crchh503.bnr.ca (Gene Lavergne)
Subject: Re: Film versions of Opera
Date: Sat, 23 Jan 1993 01:21:44 GMT
Reply-To: gal@crchh503.bnr.ca (Gene Lavergne)
Organization: Bell Northern Research
Keywords: Wagner's Ring

When President Reagan was leaving office, I remember hearing that
his first job as a private citizen would be hosting (or introducing)
a film version of Wagner's Ring.  That is all I ever heard about it.

Gene

--

| gal@bnr.ca (Gene A. Lavergne) | In all of opera, I most identify |
| ESN 444-4842 / (214) 684-4842 | with the character of Elektra.   |
| PO Box 851986, Richardson, TX | That often worries me.           |
| USA 75085-1986 | Opinions expressed here are mine and not BNR's. |

Newsgroups: rec.music.classical
From: chuconl@yalevm.ycc.yale.edu (Conrad Chu)
Subject: Re: The popular song made from the classical music ...
Followup-To: rec.music.classical
Organization: Public Macs, Yale University
Date: Wed, 27 Jan 1993 22:22:29 GMT

In article <1993Jan25.175938.9704@adobe.com>, ayers@adobe.com (Robert
Ayers) wrote:
> When I listen to
>     Debussy  Images book one, number VIII 
> or
>     Borodin  String Quartet number two, third movement, "Nocturne"
> 
> I can *almost* remember the popular song that was created
> from each work.  Almost.  Can you help by supplying the name
> of the song?

I can help you with the Borodin.  The melody of "Nocturne" was stolen for
the
song "And This Is My Beloved" from the Broadway musical "Kismet."  I have
an old
LP of Mario Lanza bellowing the tune at the top of his lungs--gives me
heartburn.

Conrad Chu, Yale University
chuconl@yalevm.ycc.yale.edu
--
This message was posted from a public Macintosh at Yale University.  The
identity of the poster is not necessarily their true one.
Newsgroups: rec.music.classical
From: vince@ghost.dsi.unimi.it (David Vincenzetti)
Subject: Re: Mahler 7
Organization: Computer Science Dep. - Milan University
Date: Sun, 24 Jan 1993 23:11:47 GMT

In <RM0WB3L5@cc.swarthmore.edu> rbrooks1@cc.swarthmore.edu (Robert Brooks) writes:

>Picked up the DG Bernstein Mahler 7 yesterday from Philly Tower Records and
>it completely blew me away (thanks Deryk ;-) ).  I saw the Horenstein too
>but I'm afraid I fell into the digital trap in deciding which version to buy
>(it's my first) although I do intend to pick it (Horenstein) up at some
>point.  Anyone else want to comment on their favorite 7? 
>-- 
>Rob Brooks
>rbrooks1@cc.swarthmore.edu
>
>Selig sind, die da Leid tragen, denn sie sollen getrostet werden.

It blew you away. These are the right words. Ever tried Prokofiev's
``dance of the knights'' from Romeo and Juliet? That is!

Ciao,
-- 
David Vincenzetti, system administrator
DSI, Department of Computer Science,    email: vince@ghost.dsi.unimi.it
via Comelico 41, 20135 Milan, ITALY     phone: ++39 2 55006 391
$PK available by finger(1)$               fax: ++39 2 55006 373
From: pm@robots.ox.ac.uk (Philip McLauchlan)
Newsgroups: rec.music.classical
Subject: William Byrd keyboard music
Date: 27 Jan 93 19:57:37 GMT
Organization: Robotics Research Group, Engineering Science Dept, Oxford, UK.
Originator: pm@thomas.robots


Having read the excellent article by Todd McComb about Byrd, along with his
and Davitt Moroney's opinions, I decided to go and buy Moroney's CD set.
Imagine my horror when I discovered that in the latest Harmonia Mundi catalogue
the set has been DELETED. Bad timing! I would like to know whether it is still
available outside the UK (e.g. the US) and if so whether anyone knows any
mail-order places that supply the UK. This also applies to the Kuijken set of
Bach violin sonatas/partitas. If all else fails I'll do the usual rounds
of the London shops.

Thanks for any replies.

Phil McLauchlan.

P.S. Does anyone actually buy records from Harold Moores in London?
     15 quid per second-hand LP. They must be joking!
Newsgroups: rec.music.classical
From: dozonoff@bu.edu (david ozonoff)
Newsgroups: rec.music.classical
Subject: Re: Heifetz (was Re: I need CD recommendations of Bach's Sonatas...)
Date: 23 Jan 93 03:32:07 GMT
X-Newsreader: Tin 1.1 PL5

Of course it's always a question of personal taste, but there are some 
really great Heifitz recordings. His Beethoven violin concerto, brahms,
and the bruch scottish fantasy. Also the korngold concerto which he 
championed.


--
Dave Ozonoff
dozonoff@med-itvax1
Boston University School of Public Health
80 East Concord St., T3C
Boston, MA 02118
(617) 638-4620
Newsgroups: rec.music.classical