HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.classical
Subject: Glenn Gould compositions
From: hanly@brandonu.ca
Date: 29 Sep 92 16:26:01 CST
Organization: Brandon University, Brandon, Manitoba, Canada

Last evening the CBC broadcast several compositions by Glenn
Gould including: a string quartet (opus 1); a sonata for bassoon and 
piano; and two groups of short piano pieces.

I would be interested in reactions to these works. (The CBC is
having a series of programmes celebrating the 60th birthday of
Gould on Sept. 25th. On that date they had a 6 and one half hour
special in which the entire 48 Bach preludes and fugues were played
by 16 or so different pianists with interviews interspersed).
From: cwt2@cunixa.cc.columbia.edu (Charles W Tang)
Newsgroups: rec.music.classical
Subject: Grad Program for Music and Computer Science?
Date: 5 Oct 92 02:20:47 GMT
Organization: Columbia University

Hi!  I've asked the same question on soc.soc.college.gradinfo, but have
gotten no response, so I thought I'd try here....

Is there any graduate school out there that offers a program for
concurrent studies in music and computer science?  Something that
would lead to a Ph.D. in CS and D.M.A. in music perhaps?

Anything, even flames, would be highly appreciated.  :-)

-Charles


*** Om Ma-Ni Pad-Me Hung *** | "Hey, Charles, have you been 'waiting' all
============================ |  your life?" -- Thao D. "the creature" Vo
   Charles Wei-Ting Tang     | ===========================================
cwt2@cunixa.cc.columbia.edu  | 201 W.72nd St.,#8J, NYC 10023  212/580-5609
From: s892024@minyos.xx.rmit.oz.au (Richard A. Muirden [GA])
Newsgroups: rec.music.classical
Subject: Re: Orchestras/conductors
Date: 5 Oct 92 00:16:31 GMT
Organization: RMIT Computer Centre
NNTP-Posting-Host: minyos.xx.rmit.oz.au

art30248@nusunix1.nus.sg (NG LING LING) writes:

>I wonder if any of you can help me. I'm doing a compilation of some of
>the big name orchestras and hope to do a list of who's conducting who
>(or who's the Musical Director).

>European Orchestras:
Royal Scottish Orch?
Gothenburg

>American Orchestras:
Detroit		Neeme Jarvi

Melbourne Symphony orchestra 	Hirouki Iwaki

>thanks in advance for any help. Please do not consider conductors who
>are linked to an orchestra just to do recordings, I'm looking for music
>directors. Also, please Flame me if I got any wrong.

>thanks.

-richard

-- 
Richard Muirden, System Administator, RMIT.Aero. Engineering.. Office: 10.12.25
raeram@kittyhawk.aero.rmit.OZ.AU, s892024@minyos.xx.rmit.OZ.AU 'phone: 660-3142
ram@lionet.wesley.OZ.AU, ram@coombs.anu.edu.au - in case you don't like RMIT! :)
----------------- Fanatic of Shostakovich and "Star Trek" ---------------------
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Mahler 1
Organization: Camosun College, Victoria B.C, Canada
Date: Sat, 3 Oct 1992 18:22:11 GMT

In article <1992Oct2.193441.20685@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:
>In article <2OCT199209173769@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel) writes:
>>In article <1992Oct2.022221.5496@cucs5.cs.cuhk.hk>, bmtong@cucs11.cs.cuhk.hk (Tong Bo-Ming) writes...
>
>>  And what is Giulini doing these days?
>
>Have a listen to his Bruckner 8th (DG, twelve CDs).
                                        ^^^^^^^^^^

Wow! He must have rerecorded it, the VPO version I have is only on 2.

BTW, talking of slow Bruckner, I  understand that a recent Celibidache
reading of the 9th ran for nearly 90 minutes!

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

Newsgroups: rec.music.classical
From: art30248@nusunix1.nus.sg (NG LING LING)
Subject: Orchestras/conductors
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 1 Oct 1992 04:28:35 GMT

I wonder if any of you can help me. I'm doing a compilation of some of
the big name orchestras and hope to do a list of who's conducting who
(or who's the Musical Director).

European Orchestras:
1.   Berlin Phil         Abbado
2.   Vienna Phil         ?
3.   London Symphony
4.   London Phil         Franz W. Most
5.   Royal Phil
6.   Dresden Staatkapellen
7.   Concertgebouw       Chailly
8.   Suisse Romaunde
9.   any others ?

American Orchestras:
1.   Chicago             Barenboim
2.   New York            Masur
3.   Philadelphia        Swallich
4.   Cleveland           Maazel (?)
5.   Los Angeles         Giulini (?)
6.   Boston              Ozawa
7.   St. Louis           Slatkin
8.   Montreal
9.   San Francisco       Bloomstedt
10.  Cinncinati          Kunzel
11.  Other orchestras with big recording contracts ?

Other continents:
1.   Israel              Metha
2.   Tokyo Symphony
3.   ?

thanks in advance for any help. Please do not consider conductors who
are linked to an orchestra just to do recordings, I'm looking for music
directors. Also, please Flame me if I got any wrong.

thanks.
Newsgroups: rec.music.classical
From: potoole@maths.tcd.ie (Peter O'Toole)
Subject: Re: rachmaninoff's 2nd piano sonata scores?
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.
Date: Sat, 26 Sep 1992 11:26:42 GMT

In article <music.717477667@batman> music@moravian.edu (Steve Heller) writes:
>In <1992Sep26.015347.7741@ALEX.ims.bellcore.com> pc@thumper.bellcore.com (Peter Clitherow) writes:
>
>
>
>>i have a recording of horowitz playing the b flat minor sonata that deviates
>>significantly from the boosey&hawkes score i have dated 1931 'revised and 
>>modified by the author'.  the blurb on the record indicated that horozitz
>>felt he had to make some changes, but that he had the full approval of s.r.
>>in this...  
>
>>anyone have any scores of this work that more closely reflect what horowitz
>>was playing in the 60s?  it certainly sounds authentic, and probably more
>>difficult than the original score (many more notes!).  the record is
>>columbia M30464
>
Horowitz played a comprimise version, drawing on both the 1913 version
and the 1931 version. The full 1913 version has been recorded by
Gordon Fergus Thompson ( with the first sonata ) and by Cecile Ousset
( with the 3rd concerto ). The Ousset version is outstanding IMO, 
bordering on definitive. The Thompson version was a bit immature.

I got a legal photocopy of the score from Boosey&Hawkes in London. It was
in quite poor condition, so it wasn't expensive.

Peter O'Toole,
Trinity College Dublin.
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Re: Eerie Music (was Re: rec.music.classical F
Date: 28 Sep 92 20:37:23 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

My favorite eerie/macabre piece is the prelude to Act II of Siegfried --
wonderful subterranean dragon noises. Another excellent one in the same
vein is the scherzo of Mahler's 7th.
---
					Tony Movshon

Internet:  movshon@nyu.edu

US Mail:   Howard Hughes Medical Institute
	   Center for Neural Science
	   New York University
	   4 Washington Place, room 809
	   New York, NY 10003
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: A Brief Review
Date: 28 Sep 92 19:36:24 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <4D1RRB3w164w@sys6626.bison.mb.ca> al@sys6626.bison.mb.ca (haus der luge) writes:

>I borrowed a copy of RCA Victor's recording of Kazuhito Yamashita's 
>performance of Stravinsky's Firebird Suite on solo guitar (!?!).

>This is an utter piece of garbage.  That he takes credit for arranging 
>this transcription should shame him forever.  Yamashita's attempts to 
>approximate an entire orchestra by simply playing his instrument as loud 
>and obnoxiously as possible must be some sort of inside joke.  I've 

Guess I'd better not send you the "Pictures" he did, then...8-)

>always enjoyed hearing guitar players play pieces that are not Spanish in 
>origin (do we really NEED yet another collection of Fernando Sor's pieces 
>- no disrespect intended, but many of the major players in the classical 
>guitar field seem to limit themselves so much that it becomes totally 
>tiresome) but if this is the result of Yamashita's sad attempt to try 
>otherwise, I suggest he release a "Greatest Hits of Sor" Cd.

No, this is the result of Yamashita's attempt to cash in, silly.

>Actually, I'd prefer that he put down his guitar and never touch it 
>again.

Why?  He plays perfectly well otherwise.  (STATEMENT OF BIAS: I annotated 
his Giuliani album last year.)

>Beware of this disc.  It's not even useful as a book end or shotgun 
>target.

Ah, now I see the problem.  IT's off center.  You can get a refund, you 
know.


Don't be so Sor, OK?

Roger
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Karlheinz
Organization: Morgan Stanley & Co., New York, NY
Date: Fri, 2 Oct 1992 22:33:47 GMT

In article <27990097@otter.hpl.hp.com> sec@otter.hpl.hp.com (Simon Crouch) writes:
>In rec.music.classical, chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789") writes:
>
>> ps (to rekindle a firestorm) was anybody else as sickened as I was by the
>> *pathetic* John Cage "obituary" in this month's *Gramophone* (about 3
>> paragraphs, barely mentioning his music, and making him sound like a clown).
>> That magazine needs a shake-up... 
>
>No, since the obituary column in Gramophone only ever prints a bare summary.
>More details usually follow in "appreciation" articles.
>
>Simon.

Although their annual awards boost to the British recording industry rarely goes 
by without eliciting an astonished "What?!" from me, once you correct for house-
bias the magazine offers a pleasant monthly diversion.





Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (stephen smoliar)
Subject: Re: Karlheinz
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Thu, 1 Oct 1992 22:37:55 GMT

In article <1992Oct1.185316.17102@netcom.com> rchrd@netcom.com (Richard
Friedman) writes:
>
>I too am curious if anyone has ordered and received
>any of the SV releases.  I'm waiting until I can
>afford them. Or someone remembers me on my birthday.

Here I am, Richard!  When anything of interest is expensive and has to be
ordered by mail, the only thing which makes Stockhausen Verlag frustrating is
their refusal to deal with credit cards.  This means going to the bank on
a Saturday morning to prepare a cashier's check in German marks.  So far
I have only acquired three of the discs, mostly to satisfy my curiosity on
a few counts:

	3	Elektronische Musik 1952-1960
			Etude			ORTF
			Studie I		WDR
			Studie II		WDR
			Gesang der Juenglinge	WDR
			Kontakte		WDR
			 (just the electronic material)

	4	Kontra-Punkte
		Zeitmasze
		Stop
		Adieu

	20	"Am Himmel wandre ich . . ."

I bought the first to see if "Gesang der Juenglinge" still did it for me.  It
didn't see to do so, but I still think it is interesting to have a document of
the work at the Elektronische Musik studio.  "Zeitmasze" has always interested
me, although I think it is a rather challenging listening exercise.  I am glad
to finally have a decent recording, as I think it deserves repeated listening.
I have argued privately with Margaret about AM HIMMEL.  We have discussed at
great length many of the structural details of this piece.  However, I was
drawn to it because I was curious as to just what Stockhausen would have to
do with Native American material.  Ultimately, he has little to do with it.
The structures would probably work just as well on the GITA texts which Glass
set in SATYAGRAHA.  Since I tend to like a bit more theater in my text settings
than Margaret does, I have not been particularly pleased with this disc.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
From: carnes@quip.eecs.umich.edu (Richard Carnes)
Newsgroups: rec.music.classical
Subject: Re: Beethoven Sonata 32
Date: 30 Sep 92 13:40:56 GMT
Organization: University of Michigan EECS Dept., Ann Arbor

danb@zx.qsp.UUCP (Daniel Benbenisty) writes:

>Beethoven's last piano sonata (32nd) has two movements, and the first 
>half of the second movement is a set of 6 variations on a theme.  The 
>last of these variations is what especially fascinates me, since it 
>resembles to me a heavily syncopated, fast-swingin' jazz number more 
>than anything else (except with B's compositional flair)!

Since the resemblance is only superficial, part of the pianist's task
is to *avoid* any suggestion of jazz style in this variation.  It
would be amusing to hear it played in a jazz style (maybe adding a few
jazzy chords): the rhythms and accentuation would be subtly different
from a "straight" performance, but the subtleties would be very
telling.

What's going on in this variation, of course, is a continuation of the
process of rhythmic diminution that began in the first variation.  The
*tempo* in this movement doesn't change, but the notes get faster and
faster, culminating in the famous trills.

Another jazzy piece is a scherzo from one of the op. 18 quartets (the
B-flat major?).

Richard Carnes
Newsgroups: rec.music.classical
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Subject: Karlheinz
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston
Date: Mon, 28 Sep 1992 21:05:33 GMT


Greetings... Has anybody seen the Stockhausen Edition CDs in any of the big 
stores in New York etc.? Did you notice how they were priced? I checked 
between Sibelius and Strauss in my local store, and no joy... 

Thanks,
Bill

ps (to rekindle a firestorm) was anybody else as sickened as I was by the
*pathetic* John Cage "obituary" in this month's *Gramophone* (about 3
paragraphs, barely mentioning his music, and making him sound like a clown).
That magazine needs a shake-up... 

+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: Mahler 1
Date: 3 Oct 92 23:57:03 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

> Deryk Barker writes:
>
> >>In article <1992Oct2.022221.5496@cucs5.cs.cuhk.hk>,
> bmtong@cucs11.cs.cuhk.hk (Tong Bo-Ming) writes...
> >
> >>  And what is Giulini doing these days?
> >
> >Have a listen to his Bruckner 8th (DG, twelve CDs).
>                                         ^^^^^^^^^^
> Wow! He must have rerecorded it, the VPO version I have is only on 2.
>


That was only the first movement, you know...

Newsgroups: rec.music.classical
From: lms@TorreyPinesCA.ncr.com (Max Stern 310-524-6152)
Subject: Re: modern liturgical music
Organization: NCR (Torrey Pines Development Center)
Disclaimer: This posting does not neccessarily reflect the opinions of NCR.
Date: Thu, 1 Oct 92 18:45:35 GMT

In article <1992Sep28.132721.9073@vax.oxford.ac.uk>
wilcox@vax.oxford.ac.uk writes:
>
>In article <1992Sep24.215424.2069@TorreyPinesCA.ncr.com>,
>lms@TorreyPinesCA.ncr.com (Max Stern 310-524-6152) writes:
>>
>> Are you interested only in *Christian* liturgical music?  If your
>> interest encompasses Jewish music, I can turn you on to some
>> wonderful stuff...
>> 
>> Bernstein's "Chichester Psalms" is already a classic.  
>
>Is this really Jewish liturgical music? Since it was commissioned for
>the Anglican Cathedral in Chichester I suspect not! There's a very
>fine line to be drawn between Jewish and Christian texts, and I'm not
>sure that the religion of the composer is of paramount importance. I'm
>sure someone will disagree, though!

I apologize for any offense; it was unintended.  Just to clarify, I
cited the Chister Psalms as Jewish liturgical music not because their
composer was Jewish, but because the composition is a setting of the
Hebrew text, and (as far as I know) is always sung in Hebrew.  (Most
of) the same Hebrew text appears in the Jewish liturgy.  QED (;-).

Seriously, I agree that this particular composition could be
categorized as Jewish Liturgical, as Anglican Liturgical, or as
non-liturgical, depending on your taxonomic bias.
-- 

 |\/|  /_\  \/
 |  | /   \ /\                      Max.Stern@TorreyPinesCA.ncr.com
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Bruno Walter's Mozart recordings
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Sun, 27 Sep 1992 15:38:44 GMT

In article <1992Sep21.033205.1@vax1.umkc.edu>, etishkoff@vax1.umkc.edu writes:
>Has anyone heard the re-releases of Bruno Walter's Mozart recordings?  If so,
>which symphonies are included in the set, how are the sonics, and what do
>you think of Walter and these recordings?

I haven't heard the CD reincarnation, but have opinions of Walter.  His LP
set of Mozart symphonies was one of the few records I de-accessioned from
my collection.  The problem is in two parts.  On the one hand, Walter's
conception of Mozart was based on late 19th century style.  On the other 
hand, Walter had no "method" that he adhered to other than his own personal
feelings.  That idea in itself is 19th century:  the idea that Walter could
be so omniscient so as to assume how Mozart's music is supposed to sound
merely out of his own personal feelings. (Having gone through all of Walter's
7,000-odd pieces of correspondence I can confirm his having written this
on more than one occasion.)  Whereas this kind of utlimately uneven approach
works very successfully in Mahler, I don't think it holds up under our
contemporary approach to Mozart (which has at least some more musicological
evidence in support).

The CDs will be cheap since there are no survivors of the Walter family to 
whom royalities must be paid.  My suggestion is to pass over them and get a
more contemporary conductor.

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: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Why switch to CD?
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Mon, 5 Oct 1992 14:09:30 GMT

In article <1992Oct5.084101.10082@bsu-ucs.uucp> 00hfstahlke@bsu-ucs.uucp writes:

>The question is, "What are the advantages of getting into the CD market?
>
>1.  CD sound quality is better than tape or LP.

Well, in a practical sense.  You can get damn good sound out of an LP, but
it costs quite a bit more than most people would be willing to spend on a
turntable.  For the most part, CD's sound subjectively better than the
average LP system.

Cassettes sound awful.  They lack the dynamic range and frequency response
necessary for a faithful reproduction of classical music.

>2.  An increasing number of good recordings will be available only on CD.

Indeed.  Within the next three years that will become more the case.  Cassette
sales are dropping very rapidly.  I've been told by many of the classical 
labels that cassette production will cease for all but the most popular titles.


>I find #1 probably true but largely irrelevant.  The difference in sound
>quality will show up best with high quality equipment. 

That isn't quite true.  The difference in sound quality between CD and 
cassette is apparent on all but the lowest-quality equipment.  Hardly
irrelevant.  Cassettes simply do not sound good.  They were never intended
to reproduce music anyway.

>#2 bothers me a bit, because I don't believe in piracy, and so I won't borrow 
>and copy CDs to tape on my son's system.

Well, then if you want to listen to these recordings, the only solution is
to buy them on CD!

> Also, once I've gotten past the
>initial costs, I then face the longterm cost of converting a large collection
>of records and tapes to CD, a significant investment I don't see the point
>of--and probably would not be compelled to make.

This is something I've never understood.  Just because you buy a CD player
does not mean that you have to convert all your records to CD.  There's 
nothing so wrong with a vinyl record when it's well-played.  Listen to your
old recordings on vinyl, and your new ones on CD.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.music.classical
From: tony@cns.nyu.edu (Tony Movshon)
Newsgroups: rec.music.classical
Subject: Re: Haydn symphony recommendations?
Date: 30 Sep 92 02:32:28 GMT
Reply-To: tony@cns.nyu.edu
Organization: New York University

In article 717810309@well.sf.ca.us, hudu@well.sf.ca.us (Scott Marley) writes:
> 
> Anyone who likes "La Poule" ought to try the rest of Haydn's "Paris"
> symphonies.  They're numbers 82 through 87.  My favorite recording is
> currently two discs by the Orchestra of the Age of Enlightenment, led by
> Sigiswald Kuijken, on the Virgin Classics label.  (One disc is 82-84, the
> other is 85-87.)  These are astonishingly wonderful performances.

Agreed. These are fine pieces, and Kuijken does a nice job with them. His
performances do not, however, erase Bernstein's New York Phil set from my
memory. This hasn't yet been reissued on CD, but I hope Sony will get to it
sometime soon. The set shows how unexpectedly fine a Haydn conductor Bernstein
was.

					Tony Movshon

Internet:  movshon@nyu.edu

US Mail:   Howard Hughes Medical Institute
	   Center for Neural Science
	   New York University
	   4 Washington Place, room 809
	   New York, NY 10003
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: Bruno Walter's Mozart recordings
Date: 28 Sep 92 03:12:36 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

I wonder how Fritz Reiner's Mozart symphony recordings would rate in this
discussion?

Newsgroups: rec.music.classical