HDTenEightyP/NetNews huggingface dataset:
From: smith@honesty.Stanford.EDU (Jeremy Smith)
Subject: Re: Le Sacre, Stravinski
Reply-To: smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith)
Organization: Stanford University Computer Science Department
Distribution: usa
Date: Sun, 13 Sep 1992 06:23:20 GMT

In article <BuH6zx.CDr.1@cs.cmu.edu> hsmoliar+@cs.cmu.edu (Harold Smoliar) writes:
>In article <1992Sep11.054155.21462@CSD-NewsHost.Stanford.EDU> smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith) writes:
>>In article <10SEP199213574384@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel (x2025)) writes:
>>>In article <1992Sep10.170804.12479@CSD-NewsHost.Stanford.EDU>, smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith) writes...
>>>
>>>>and Montreal is perhaps the most technically proficient
>>>>Symphony Orchestra in the world today. 
>>>
>>>I guess I have not been keeping my eye on the Sports page.  When did they
>>>win this title?
>>>
>>>Ron
>>
>>Sorry, no official award for Montreal, just a hypothesis i've made
>>after hearing numerous demanding pieces by them.  The M.S.O. is very
>>accurate, very in tune, more so than recent recordings of other symphony
>>orchestras i've heard.
>
>>Jeremy.
>
>
>I hate to bring this up again[last time was in the Spring] but I hear from the
>folks who play in the Montral Symphony that most of their recordings are put
>together piece by piece.   This would explain the (a) lack of fire or
>intensity[as one poster put it] and (b) the technical perfection.
>
>Have you ever heard them live???
>
>
>Harold Smoliar
>English horn, Pittsburgh Symphony
>Piano, Symphony Jazz Trio

No, I have never heard them live but most CD's today are put together
piece by piece, even "live" recordings draw from a series of concerts
(i.e. a movement here, a movement there).  So either the CD companies
are singling out Montreal to "fix up", or I am, in fact, making a reasonably 
valid comparison between orchestras.  I find it hard to believe that 
London would spend a lot of effort to make Montreal look better than, 
say, Concertgebouw (Actually, I like the Concertgebouw, but i'm making
and illustration).

Jeremy.
Newsgroups: rec.music.compose,rec.music.classical
From: stefan@sinus.stgt.sub.org (Stefan Bechtold)
Subject: Composition contests
Organization: Sinus Stuttgart, Germany
Date: Fri, 4 Sep 1992 23:17:15 GMT

Hi !

I'm interested in composition contests (as I'm composing myself). 
Could everyone who has some infos about any composition contest 
all over the world (especially contemporary "classic" music, 
but not necessarily) mail me those infos ? 
An info could be an address, a description of the contest,...

I hope many will answer, as it's rather difficult to get some information
about composition contests on other contries.

I'll post a summary if wanted.

Thank you,
Stefan
-- 
+ Stefan Bechtold # stefanb@delos.stgt.sub.org # Voice +49 711 813240 +
++++++++sed nemo potuit tangere: merda fuit ! (Martial III 17)+++++++++
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Newsgroups: rec.music.classical
Subject: Re: Richter recordings...
Date: 14 Sep 92 23:12:12 GMT
Organization: Camosun College, Victoria BC, Canada

In article <192ktcINNc2n@roundup.crhc.uiuc.edu> korkosz@uicsl.csl.uiuc.edu (Richard Korkosz) writes:
>Hi folks, 
>
>Thanks to everyone for posting their favorite Richter recordings!  I 
>am having some trouble tracking down recordings on some of the (obscure, 
>at least in the U.S.) labels, though.  For example, the only recording of 
>Schumann's Symphonic Etudes I find listed in Schwann's (1991 Artist Guide) 
>is that on AS Disc ASD326.  Is this performance the same as the incredible 
>one on JVC 10251 or German BMG which was recommended?  I am also concerned 
>about the fact that Richter said in a letter to avoid AS Disc recordings 
>since many were not up to his standards (info. supplied by Marco Simionato).  

I doubt if the AS disc is the same as the JVC. JVC recordings are
usually digital love from the 80s, whereas AS, being Italian,
specialises in recording more than 20 years old and therefore, under
Italian law, out of copyright.
[....]
>as well as the Schumann disc mentioned above.  Anyone have any comments 
>on these recordings (Deryk Barker recommended the D960 performance) or 
>others which are obtainable?

And he's going to do it again, and point out that this is available
not just on AS, but also on Music and Arts CD642, coupled with the E
minor D566. (The AS is differently coupled). This is really great, an
opinion which a professional pianist friend of mine concurs with. She
was just knocked sideways when I played it to her.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Newsgroups: rec.music.classical
Subject: "If ye love me" (Re: wedding music)
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Date: 7 Sep 92 12:13:13 EDT
Organization: Harvard Math Department

In article <6SEP199211294993@eccles.caltech.edu>
inr@eccles.caltech.edu (I. Neill Reid) writes:
: Another tuppence worth - one of the ex-members of our madrigal
:group got married recently so we sang a couple of pieces at their
:(unconventional) wedding -
:  Palestrina - Sicut cervus (as the hart pants for water, so doth my
:    heart for thee )
:  Tallis - If ye love me
:  ^^^^^^^^^^^^^^^^^^^^^^
: neither directly appertaining to earthly love, but possible of that
:interpretation - and Sicut Cervus has a marvellous tenor part!

The Tallis is certainly a wonderful piece of music, but I'm not
sure about singing it in a 1990s wedding: after `If ye love me...'
the text continues `...keep my commandments' (hm).  Though the
plural pronoun `ye' and the rest of the text (`and I will pray
the Father, &c.') makes it clear that that it's not about the
"love, honor and obey" species of marital love.

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
From: mikulska@crux.Princeton.EDU (Margaret Mikulska)
Subject: Re: Stokowski
Originator: news@nimaster
Organization: Princeton University
Date: Tue, 8 Sep 1992 23:27:56 GMT

In article <4eoHqB2w164w@sys6626.bison.mb.ca> al@sys6626.bison.mb.ca (Haus Der Luge) writes:
> 
>I recently picked up, out of curiousity, Leopold Stokowski's orchestral 
>arrangement of Debussy's "La Cathedrale Engloutie" (From the Piano 
>Preludes for those who are not familair with it).  Overall, I'm not 
>extremely happy with this version, but it definitely has its moments.

Those chords really, really need a piano, not an orchestra.  Debussy
knew what he was doing.

>Could anybody recommend a superior version of this piece performed (as it 
>was written) for the piano?  There are many versions available and I 
>wonder if there might exist a 'definitive' interpretation.

There is no such thing as a 'definitive' interpretation.

Sviatoslav Richter recorded "La Cathedrale Engloutie".  I'm not sure if
it's on CD, though.  A fantastic interpretation.  (And a fantastic piece
of music, too ...)


-Margaret
From: midkiff@btr.BTR.COM (Neil E. Midkiff  midkiff@btr.com)
Newsgroups: rec.music.classical
Subject: Re: Haydn's "The Seasons"
Date: 13 Sep 92 21:21:07 GMT
Organization: BTR Public Access UNIX, MtnView CA. Contact: Customer Service cs@BTR.COM

In article <5307@krafla.rhi.hi.is> douglas@rhi.hi.is (Douglas Brotchie) writes:
>A local choral society here is planning on presenting Haydn's oratorio
>"The Seasons" during the autumn season.
>
>The whole work appears to last for about 2 hrs. 10 minutes, and has something
>of a sameness.
>
>Does anyone know of any recognized cuts which are made in performances
>of this work ?

I can at least suggest the cuts that our chorus used in a performance last 
year.  The one which can be justified on historical grounds is #23 (of 44 
numbers in the edition I have), the trio and chorus near the beginning of 
Autumn in praise of industriousness.  Apparently Haydn didn't like the poem 
and had to be bullied by the librettist van Swieten into setting it to music.

We also omitted #13-15 (Simon's recit and Lukas's recit and cavatina) in 
Summer, the two recitatives (last part of #21 for Hanne, #22 for Lukas) 
preceding the "industry" trio in Autumn, and in Winter left out #34-36 (Hanne 
cavatina, Lukas recit and aria), and #41-43 (Simon's recit/aria/recit).

My personal preference would be to include #41-43 if you have a good baritone  
soloist, as both musically and poetically this part leads into the final trio 
and chorus of rebirth.

-Neil
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Newsgroups: rec.music.classical
Subject: Keith Jarrett
Date: 12 Sep 92 14:41:18 GMT
Organization: The Ohio State University

Jarrett has recorded a one-movement piano concerto (length about 16 min) by
Alan Hovhaness, Lousadzak ("Dawn of Light"), Op. 48  with the American
Composers Orchestra under Dennis Russel Davies.  Also on the album is
Hovhaness' Symphony No. 2, Op. 132 ("Mysterious Mountain") and Lou Harrison's
Symphony No. 2 ("Elegaic").  It is on Musicmasters 7021-2-C and was recorded
in 1989.  Jarrett's performance is very technical, driving, and intense. The 
work itself is a little known one by a composer who, in my opinion, deserves
a lot more recognition than he gets.  (Please! No Hovhaness flames!)  The two 
symphonies on the album are also quite nicely done and worth a listen.
-- 
=>   Michael J. Valinis   -=+{*}+=-   mvalinis@magnus.acs.ohio-state.edu   <=
+>=>      "Language, n.  The music with which we charm the serpents      <=<+
=>+>=>         guarding another's treasure."   -Ambrose Bierce         <=<+<=
+>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<+
Newsgroups: rec.music.classical
From: dl@indetech.com (David Lieberman)
Subject: Re: Mahler's 5th Symphony by Solti and remastering CDs
Organization: Independence Technologies, Inc. Fremont, CA
Distribution: usa
Date: Wed, 9 Sep 1992 01:01:17 GMT

In article <1992Sep8.003516.25079@CSD-NewsHost.Stanford.EDU> smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith) writes:
>In article <Bu7yzs.E7v@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>>
>>Oh, you meant "never conducted the Chicago Symphony" (while Solti was
>>music director.  True, but so what?  Karajan never guest-conducted 
>>anyone else's orchestra ANYwhere.
>>
>
>I don't believe your statement is correct.  Karajan conducted the
>Orchestra of Paris in Frank's Symphony in D, along with a few other
>pieces.
>
>Jeremy.

And I could have sworn that was HvK conducting LvB's Symph. #9 with
the NY Phil in Carnegie Hall in 1958(+/- 1).  Could my memory be
playing tricks on me?

-- 
____*_  David Lieberman             dl@indetech.com
\  / /  Independence Technologies   {sun,uunet,pacbell}!indetech!dl
 \/ /   42705 Lawrence Place        FAX: 510 438-2034
  \/    Fremont, CA 94538           Voice: 510 438-2030
Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Le Sacre, Stravinski
Organization: Educational Computing Network
Date: Fri, 11 Sep 1992 04:43:36 GMT

In article <music.716182422@batman> music@moravian.edu (Steve Heller) writes:
>For those who consider Stravinsky's own interpretations of his works,
>consider this: even Stravinsky considered his conducting abilities
>quite inferior to the best conductors of his day. His recordings have historic
>interest, but I wouldn't consider (m)any of them _definitive_. Some are
>quite awful...

That has been documented elsewhere, by Craft and others.  There was limited 
budget for the projects, sometimes they used CBS's "star" personnel that might
not have been the best for I.S.'s music, and I.S.'s health at 80+ years
old was a limitation.  

But.... the fast polyrhythmic sections at the end (Glorification de l'elue,
Danse sacrale l'elue) on I.S's version quite simply kicks ass...  quite
crisply.  None of the other versions I have heard (Solti-CSO, Craft-St
Luke, Boulez-Cleveland, Dutoit-Montreal, Rozhdestvenksy-London) have equaled
that intensity.  Conversely, the slow sections (especially in the 1st
part) work well for Boulez, very hypnotic and entrancing. 

I hopefully will get to see Boulez do Le Sacre with CSO this December...
along with Agon, Four Studies, Et exspecto resurrectionem mortuorum,
some Bartok...  I understand the CSO is changing their policy, in a few
weeks, single tickets will go on sale for every concert in their season,
in contrast to the previous policy of selling single tickets only a few
weeks before.

Jeff
Xref: sparky rec.music.classical:12421 rec.railroad:7165
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical,rec.railroad
Subject: Re: need train song recommendations
Date: 7 Sep 92 18:56:29 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Followup-To: rec.music.classical
Organization: COMANDOS Project, Glesga Yoonie

dbrooks@osf.org (David Brooks) wrote:
> slothrop@cheshire.oxy.edu (Roger Lebow) writes:
>> You really HAVE to include Arthur Honegger's Pacific 231--
>> the best symphonic train ride I know of.
> If we're talking orchestral, "The Little Train of the Caipira" by Heitor
> Villa-Lobos, is so much more *fun*!  Also known as Bachianas Brasileiras
> #2, and HVL is said to have written it while riding on the train.  Lotsa
> Latin percussion and a nice tune.

Two crypto-train-pieces better than either of these:

- the scherzo from Bruckner's Ninth Symphony.  Apparently (source: some
  musicologist whose name I forget, talking on BBC Radio 3) Bruckner was
  a train freak, and the rhythm of this section derives from a specific
  type of triple-expansion steam engine.

- one of Webern's 6 Pieces for Orchestra.  Webern didn't publish the
  programme for these, but described them in a letter to Schoenberg
  as depicting his successive emotional reactions to the events around
  his mother's death.  The second (I think) has him on the train on his
  way to her deathbed when he realizes she's already died.  There's a
  graphic and frightening rocketa-rocketa-WHOO-WHOO at the end.

(And, as this request showed up in rec.music.folk too, try the Northumbrian
hornpipes "Navvie on the Line" and "The Locomotive").

When did allusions to train noises first become possible in music, anyway?
Who was the first well-known composer to ride on one or write about them?

Followups to rec.music.classical, or somewhere else if appropriate...

-- 
--  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
Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Recording Poulenc
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Tue, 15 Sep 1992 12:44:31 GMT

In article <19427pINNljq@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>
>What about scholarly editions of Bach, Buxtehude etc? They all have copyright
>notices on them. Surely the D minor T&F can't be copyright, no matter
>who did the research. A throng of anxious midi-folk await the reply with
>bated breath.

Well, this one I can answer.  The D minor T&F can't be copyrighted, but
C.F. Peters' score of it can be.  Don't worry about releasing MIDI files
of these.  I'm still curious what the deal witl Poulenc et al. is though.


--
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: kevin@sys6626.bison.mb.ca (Kevin Scott)
Newsgroups: rec.music.classical
Subject: help!
Date: 9 Sep 92 06:26:34 GMT
Organization: system 6626 BBS, Winnipeg MB


 
CBC radio has done it again...played something brilliant and didn't give 
the name of the piece.
 
I know this much: The composer's name was Marchek or Marchak or Macek or 
something like that. It was a small ensemble piece with 3 harpsichords 
and about five other instruments...it sounded like it came from the 
classical period. Hopefully someone will be able to shed some light based 
on the odd collection of instruments on the track.
 
Anyone know what piece I'm talking about?
KS

;--- (Kevin Scott) a user of sys6626, running waffle 1.64
;E-mail: kevin@sys6626.bison.mb.ca
;system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
From: korkosz@uicsl.csl.uiuc.edu (Richard Korkosz)
Newsgroups: rec.music.classical
Subject: Richter recordings...
Date: 14 Sep 1992 18:16:12 GMT
Organization: Center for Reliable and High-Performance Computing, University of Illinois at Urbana-Champaign
Distribution: world
NNTP-Posting-Host: uicsl.csl.uiuc.edu

Hi folks, 

Thanks to everyone for posting their favorite Richter recordings!  I 
am having some trouble tracking down recordings on some of the (obscure, 
at least in the U.S.) labels, though.  For example, the only recording of 
Schumann's Symphonic Etudes I find listed in Schwann's (1991 Artist Guide) 
is that on AS Disc ASD326.  Is this performance the same as the incredible 
one on JVC 10251 or German BMG which was recommended?  I am also concerned 
about the fact that Richter said in a letter to avoid AS Disc recordings 
since many were not up to his standards (info. supplied by Marco Simionato).  
This may be bad news since apparently many other works played by Richter 
are available only on AS Disc.  In particular I was considering 

	ASD325 Schubert Sonatas D566,D598,+Variations
	ASD344 Schubert Sonata D960, etc.
	ASD346 Ravel Miroirs + Scriabin

as well as the Schumann disc mentioned above.  Anyone have any comments 
on these recordings (Deryk Barker recommended the D960 performance) or 
others which are obtainable?

Some recommendations which I ordered are

	Stradivarius STR33323 Bach Sonatas BWV 966,963,964, Italian Cto, 
	                      etc.
	Stradivarius STR33313 Beethoven Sonata Op. 106
	
	Olympia OLY286 Schubert Sonatas #9,11, etc.
	Olympia OLY288 Schubert Sonatas #13,14, etc.
	RCA Beethoven Piano Cto#1,sonatas #11,22
	RCA Brahms Piano Cto#2, Beet. Sonata Op. 57
	DG  Rachmaninov Piano Cto#2, Prok. Piano Cto#5

The Olympia discs were recommended in a recent issue of Classic CD, as
well as OLY287 which contains selected Chopin Preludes and Schumann pieces 
(Fantasiestucke, etc.).  I picked this up already and it is great!

Well, thanks again for all of your help (Marco Simionato, Steve Apter, 
and MANY others...).  I'm still interested in more information about 
S. Richter (what an artist!) and his recordings; if you don't wish to post, 
please correspond with me via email.  Looking forward to hearing from 
you and learning more!

Rick Korkosz
Univ. of Illinois at Urbana-Champaign
korkosz@uicsl.csl.uiuc.edu
	
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Sibelius Second
Organization: Visual
Date: Tue, 8 Sep 92 13:01:11 GMT

> I don't recall seeing the Barbirolli....

This has been on CD for a couple of years now, on Chesky.  It's my
"performance of choice" for the Sibelius Second.

Another poster asked about the new Blomstedt.  I have some friends
involved with the San Francisco music scene who are unabashed Blomstedt
detractors.  These friends were visiting Boston recently and during our
pilgrimage to Tower Records, the new Blomstedt Sibelius Second was
playing in the classical department.  

My friend asked me if I knew which recording it was.  I told him that
before I'd say, he'd have to tell me what he thought.  He thought it was
very good indeed.  I told him it was Blomstedt.  He said to our
other friend, "Hey, David, it's HB.  They sound very together.  They
sound terrific, actually."

He then qualified his overall opinion of Blomstedt, saying that HB
is good with the Scandinavians like Nielsen and Sibelius, but misses
the mark on anybody else.  I can say that Blomstedt's excellent Nielsen
speaks for itself, althought I also think his Richard Strauss is wonderful.

I should ask if anyone's heard his Beethoven recordings.  Does this 
principle correctly apply there?

Rob
Organization: University of Maryland at Baltimore
Date: Thursday, 10 Sep 1992 13:44:58 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject: Re: Solti and Karajan (was: Re: Mahler's 5th Symphony by Solti ...)
 <1992Sep8.033831.29158@cmcl2.nyu.edu>
 <1992Sep8.175548.6739@CSD-NewsHost.Stanford.EDU>,
 <1992Sep8.234755.2389@spang.Camosun.BC.CA>
 <1992Sep9.141629.11935@menudo.uh.edu>

In a recent post, Bill Harrison writes disparagingly of the second
recording by Karajan and the Berlin of Shostakovich's Tenth.  I thought
I'd posted a remark on this earlier, and it's not appeared, so here it
is again.  I think this recording is superb.  What's wrong with it?
Brooding, expressive, great playing.

Anxious in Baltimore.
Newsgroups: rec.music.classical
From: smith@honesty.Stanford.EDU (Jeremy Smith)
Subject: Re: Le Sacre, Stravinski
Reply-To: smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith)
Organization: Stanford University Computer Science Department
Date: Thu, 10 Sep 1992 17:08:04 GMT

In article <BuCxsJ.8Ix@cs.vu.nl> lrozend@cs.vu.nl (Rozendaal L) writes:
>I'd like to know which performance of 'Le sacre du printemps' is considered
>the best. Any opinions?
>

Well, I don't know which performance is considered *THE* best, that would 
probably depend on who you asked.  I personally like Charles Dutoit       
conducting the Montreal Symphony.  The "The Rite of Spring" is a very   
difficult work to play, and Montreal is perhaps the most technically proficient
Symphony Orchestra in the world today.  Some have complained that this
performance lacks final level of savagery that is called for in this piece.
However, I think that any more savagery would end up being sloppy.   Besides,
Montreal delivers plenty of excitement!  Listen to this recording and tell me
where you have heard such good playing!

Jeremy.
Newsgroups: rec.music.classical
From: pawel@tethys.ph.albany.edu
Subject: Re: Shostakovic's Preludes and Fugues recording: comments?
Reply-To: pawel@tethys.ph.albany.edu
Organization: SUNYA School of Public Health, Albany, NY
Date: Tue, 8 Sep 92 14:46:09 GMT

In article <1992Sep8.125156.4382@ugle.unit.no>, terjer@ifi.unit.no (Terje Rydland) writes:
>In article <1992Sep8.123856.454@cine88.cineca.it> Marco Simionato
><simion@iveuncc.unive.it> writes:
>>I would appreciate any comments on the recent release on K.Jarret's
>>recording of this piano work.
>>I would also be grateful if anyone could tell me which label released
>>Tatiana Nikoleeva's recording and if it is currently available.
>>
>
>If we are talking about the 24 preludes and fugues in all
>the different keys, those were released on the English label
>Hyperion. 
>It should still be available.
>
>Terje

  My understanding is that Tatiana Nikolayeva recorded 24 preludes
and fugues twice - first time for Melodya.  I read that the first
recording is better. Melodya's CD are available in US.
                                      Pawel Penczek
From: gr@st-andrews.ac.uk (Gavin Ramsay)
Newsgroups: rec.music.classical
Subject: Re: Le Sacre, Stravinski
Date: 10 Sep 92 20:52:11 GMT
Organization: St. Andrews University, Scotland.

In article <BuCxsJ.8Ix@cs.vu.nl> lrozend@cs.vu.nl (Rozendaal L) writes:
>I'd like to know which performance of 'Le sacre du printemps' is considered
>the best. Any opinions?
>
>--
>Rhesa Rozendaal
>
>--
>lrozend@cs.vu.nl
>Faculteit Wiskunde & Informatica, Vrije Universiteit Amsterdam.
>--

Try and get a copy of last months copy of gramaphone (the one with Boulez on it)gavin ramsay