HDTenEightyP/NetNews huggingface dataset:
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: The Best Thaikovsky's 6th
Organization: School of Computer Science, Carnegie Mellon
Date: Wed, 11 Nov 1992 06:25:59 GMT

Vinh already said just about everything I wanted to say about Tchaikovsky's
Sixth.  I would like, however, to enthusiastically second Vinh's comments
about the Bernstein NYPO/DG disc.  It is definitely a controversial
reading, but one that I think really should be in every collection.  It is
extrodinarily bleak.  I had never really experienced this work as such an
expression of despair until I heard this disc.  Like Vinh, I treat the disc
as dangerous material, to be heard only on rare occasions.

The Mravinsky is of course excellent; its reputation is well-deserved.  But
I don't recall the sonics of this disc as significantly worse than the
aforementioned Bernstein, or even worse at all.  At any rate, when it comes
down to readings such as these two in a field filled with mediocrity, one
can't be picky about sonics.

I'd recommend the other two Bernstein NYPO/DG recordings -- the 4th coupled
with Francesca da Rimini and the 5th coupled with Romeo and Juliet.  Both
are, like the 6th, truly amazing readings IMHO.

-chris
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Sir Peter Maxwell Davies
Date: 10 Nov 1992 14:25 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: eccles.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

 Unicorn issued a cd of the third and fourth Strathclyde concertos 
recently - I thought the 3rd concerto was the cello concerto, but
I may be misremembering that.

  Neill Reid inr@eccles.caltech.edu
Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel)
Subject: Esa-Pekka Salonen update #3
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Date: Tue, 10 Nov 92 03:19:23 GMT

I attended my 3rd concert of the LA Philharmonic season with Esa-Pekka
Salonen "at the helm".  If you recall, I gave an unqualified rave for
the 1st concert (Mahler's 3rd), and a qualified "eh!" for the 2nd.

This concert featured an interesting "blend" of music, a modern piece
"a la fumee" by Finnish composer Kaija Saariaho, Prokofiev's Violin 
Conerto #2, and Sibelius' 4 Lemminkaiinin legends.  

The "a la fumee" was a dreadful piece of modern something or other.  Esa-
Pekka kept the orchestra together in this technically demanding, but
otherwise quite arid piece of music.  It was very repetitive and brought to
mind what it would be like to view one of the intense scenes of "Cape Fear"
over and over again.  Surprisingly, the LA audience forked over a very
gernerous 3 curtain calls (normally this audience is merely polite if the
music is not Mahler, Beethoven, Strauss, or Brahms).  Unfortunately, I am
not able to clap at all rigorously immediately after a nap.  

The Prokofiev Concerto was exquisitly performed by Cho-Liang Lin.  On the
debit side, however, the Phil and Salonen were competent accompanists at
best, seeming to stroll through their duties.  Particularly disappointing was
the delicate slow movement.

The most satisfying piece, then, was the Lemminkaiinen Legends.  Salonen seemed
to have the most affinity for this piece, taking great care to reveal subtle
detail, when appropriate, and just the right splash when called for.  But
he seemed less interested in his orchestra's technical performance here, in
what is shaping up to be a forboding pattern.  He pays more attention, 
interpretively, to a work that he apparently "likes", but less to the business
of the orchestra as instrument (whatever in hell that means), and he pays
more attention to technical difficulty in modern works, but less to "content"
(whatever in hell THAT means).  And to works that are familiar to most, he
pays the least attention of all (as 2 weeks ago with Schumann's 3rd Symphony).

And, just as interestingly, Martin Bernheimer (LA's own Beckmesser) has been
most lenient, I'm certain of it, with our new conductor.   Most people I 
talk "music" with here in LA have always felt Bernheimer to be quite the
curmudgeon.  I have almost always agreed with him.  In our time, with all 
the recordings of "great" performances to add to our listening experience, 
it is difficult to not recognize a pedestrian performance - or at least tell
the difference between good, average, and ugly.  When Bernheimer has been
harsh, I felt he really was right.  But I wonder what is going on lately.

Ron
Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Velde Francois)
Subject: Re: KDFC - a question.
Organization: HAC - Johns Hopkins University, Baltimore
Distribution: usa
Date: Thu, 12 Nov 1992 14:17:35 GMT

In article <1992Nov12.090434.8672@netcom.com> bryan@netcom.com (Bryan Higgins) writes:
>
>Victor Ledine is quite knowledgable, as a matter of fact.  I don't always
>share his tastes (early 20-th century Swedish symphonists, e.g.) but his
>afternoon show on KKHI is an order of magnitude more adventurous than all
>other local fare.

His arrival at KDFC marked a ever-so-slight change in the programming, for
the better I would say (e.g., non-zero amounts of chamber music).



-- 

	Francois Velde
From: hcresnic@quads.uchicago.edu (hugh carney resnick)
Newsgroups: rec.music.classical
Subject: Re: MESSIAH, technical question....
Date: 11 Nov 92 04:56:04 GMT
Article-I.D.: midway.1992Nov11.045604.1214
Reply-To: hcresnic@midway.uchicago.edu
Organization: University of Chicago Computing Organizations

Eew, why use a Schirmer edition? Yes, I know - because the orchestral 
parts go with it....

The Watkins-Shaw edition (pub. Novello) is much better, has alternate 
versions of some of the arias and choruses, and is cheaper ($6.75 vs.
$6.95). However, one needs a magnifying glass to read it.

The Barenreiter is slighty more expensive ($7.50), but it combines the
clarity of the Schirmer with the "accuracy" (ha!) of the Novello.

There is a edition of the Schirmer with a spiral binding published by 
CPP/Belwin, so accompanists don't have to deal with keeping the book
open. I believe it's somewhere around $7.50, when last I was in the 
music shop.

Since we are getting into Messiah season, any comments on the recent
harmonia mundi Messiah where all the different versions are recorded
so one can mix-and-match? If this is a FAQ, sorry, just don't respond
to it.

Thanks 

hugh
-- 
___________________________________________________
Hugh C. Resnick (hcresnic@midway.uchicago.edu)
"Who is the super EQ team?" -- Voice Farm
___________________________________________________
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Bernard Shaw quotes (was: Brahms)
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Fri, 13 Nov 1992 00:00:18 GMT

In article <12NOV199213190783@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel) writes:
>In article <BxM4Gt.Dtn@cmcl2.nyu.edu>, tony@cns.nyu.edu writes...
>>I can't resist adding George Bernard Shaw's view of Brahms to this (quoting
>>frommemory): "Brahms is like a gigantic baby, who insists on dressing himself
>>up as Bach or Handel, and making a prolonged and intolerable noise".

>GBS also had a couple gems re: Wagner.  He reported to a friend that he had
>just heard Wagner's Ring, "and lived".  And he also maintained that "Wagner's
>music is not as bad as it sounds."

Sounds more like Mark Twain.  Shaw was, in his own words, a Perfect Wagnerite,
and would never have said something like that.

Shaw's blindness to Brahms and to the issues of music and historicism that 
Brahms was the first to confront fully in his works is legendary.  

Another anti-Brahmsian was Mahler, who considered Brahms shallow and narrow,
until the end of his life, when he stated that he had changed his opinion
completely.

Brahms did things just as drastic as Wagner did in the realm of harmony
and melody, btw; his efforts were directed in different ways, however,
ways that take a while to recognize fully.  (Even in an early, pre-
"developing-variation" work such as the first concerto we find things like
an absence of perfect authentic cadences in the tonic until very late in 
the first movement.  The approach is utterly different from the Tristan style,
which is from about the same time; the technique of eliding or avoiding
or partially stating the cadence leads to a subtle formal conception.)

Roger
From: shari@pobox.upenn.edu (Shari L. Bart)
Newsgroups: rec.music.classical
Subject: Re: Brahms symphonies question
Date: 6 Nov 92 20:06:12 GMT
Organization: University of Pennsylvania

How are the Brahms symphonies, you ask? Oh boy, where to begin. From a
musicians point of view, they are incredible structurally, thematically,
and they are amazing to play. But simply from the listeners point of view,
they are equally fabulous.  I recommend starting with Brahms 1st symphony.  I
have a recording of Bernstein conducting Vienna - a recording of the
complete symphonies, but I think they were also released separately -- which I
highly recommend.  But there are a
lot of really good recordings out there.  All four symphonies are wonderful.  

However, while you're looking into Brahms, may I also recommend the Brahms
double concerto for Cello and Violin? That is a fabulous piece of music. 
But then again, this is Brahms we're talking about. You're not going to
find much (if any) that is bad.
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: It's in the wrists.
Date: Mon,  9 Nov 92 21:45:49 PST
Organization: The Portal System (TM)

  In article <10105@bu.edu> Godfrey Delgamo worries about "small"
hands for playing the piano.  Actually, if you can readily span
a ninth, I don't thinkyou need to worry about "small hands".
Presumably, Liszt did have a large hand, but I don't think Chopin
did.  Anyway,  one of the great "golden age" virtuosi, Josef Hofmann,
had quite small hands, and it didn't seem to impair his career.

    Bill Pearce
From: inr@zardoz.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re: Gramophone 1992 awards
Date: 9 Nov 1992 21:45 PST
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: zardoz.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    


In article <1992Nov7.231029.22698@nuscc.nus.sg> smoliar@iss.nus.sg (Stephen Smoliar) writes:
>In article <1992Nov6.184728.11506@news.acns.nwu.edu> ssc@nwu.edu (Steven Chung)
>writes:
>>In article <1992Nov5.225814.4196@nuscc.nus.sg> smoliar@iss.nus.sg (stephen
>>smoliar) writes:
>># In article <hal.14.720975131@radio.wkar.msu.edu> hal@radio.wkar.msu.edu (Hal
>># Prentice) writes:
>># >
>># >Best Historic Non Vocal Recording -
>># >Elgar Edition Vol 1 - Elgar conducting (EMI mono CDS7 54560-2)
>># >
>># Can anyone post what is on this disc?  I have the recording of Elgar
>># conducting
>># the violin and cello concertos, but that is part of their Great Recordings
>># of
>># the Century series.  This is the first I have heard of the Elgar Edition.
>>
>>According to the ad in November's Gramophone, volume 1 has the two
>>symphonies, Falstaff, The Dream of Gerontius, The Music Makers (excerpts)
>>and includes 'the whole of the Second Symphony rehearsal take and both
>>versions of the Rondo.'
>
>That "excerpts" qualifier applies to ALL the compositions listed, doesn't it?

 As Deryk Barker pointed out already, the symphonies and Falstaff are
complete performances. In fact, they include an earlier take of the rondo
to the 2nd symphony and a recording of Elgar rehearsing same. The
Gerontius performances are from two separate performances - can't
recall the exact details, but I think one might be from a Three Choirs
festival - definitely recorded in a cathedral. The other may be the
Albert Hall performances that Deryk Barker refered to. Those `outside
broadcats' have the poorest recording quality on the disks, but it's
still prett good given the recording date. The symphonies and Falstaff
have much better sound (although the strings get a bit scratchy in
the closing moments of the 2nd symphony). The performances themselves
are absorbing.


 (By the way - just located the cd of Holst conducts Planets plus
RVW conducting his 4th. I second most thoroughly Deryk Barker's
recommendations - and thanks for pointing out it's existence, DB.)

  Neill Reid - inr@eccles.caltech.edu

Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: HAYDN
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sun, 8 Nov 1992 06:07:05 GMT

In article <1162.3163.uupcb@synapse.org> ian.murray@synapse.org (Ian Murray)  writes:
>On 11-05-92, Gabe M Wiener wrote to All regarding Re: HAYDN

>GM>Vivaldi?  300 violin concerti and *every bloody one* sounds alike.

>Sorry...Vivaldi WAS a bad example.

>Haydn just doesn't do anything for me.  I've listened to several of hs 
>many symphonies, The Creation, but I must admit I'm not fond of choral 
>works with a few exceptions, and some Flute quartets.  

Well, there's your problem.  Must be some other Haydn, then, because
the one we're talking about didn't write any flute quartets.  Mozart
wrote a few--2, 3, or 4, depending on whom you listen to. 

>What would you say 
>were your favorite Haydn pieces...the ones that made you want to hear 
>more?

Several of his many symphonies (45, 92, 98, 103 are a good set to start with)
and most of his string quartets beginning with Op. 20.  Also some of 
the choral music, but we'll skip  that for now.

>By the way have you heard Vivaldi's Flute Concertos performed on a Pan 
>Flute?  No the performer wasn't Zamphir.  Or how about the same concertos 
>performed on Harmonica???  (Sorry - can't remember the performer). Both (I 
>Think) available on CD on the ERATO label.  More like Erratum.

You *are* a glutton for punishment.

>"Show me a Mountain Lions Lair and I'll show you a Haydn."

Or maybe just a glutton for pun...

Roger
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.music.classical
Subject: Re: Cage's 4'33"
Date: 12 Nov 92 07:00:10 GMT
Article-I.D.: news.1992Nov12.070010.21805
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Distribution: usa
Organization: Columbia University

In article <1992Nov11.205624.1093@sequent.com> danielh@sequent.com (Daniel Hobbs) writes:
>I've read so much on this newsgroup about Cage's infamous 4'33".
>Can anyone recommend any good recordings of it?  What, in the
>informed opinion of this net, is the _best_ recording?

In order to judge the quality of recordings, I'd recommend you try 
playing (or singing) it yourself a few times.  The score follows.


				  I

				TACET


				  II

				TACET


				 III

				TACET

I hope I didn't just violate copyright.


--
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,k12.ed.music
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Instrumental instruction
Organization: Columbia University
Date: Mon, 9 Nov 1992 05:34:54 GMT

I'm working with a friend to compile a list of some pieces with the following
instrumentation:

	Piano + Violin
	Piano + Clarinet
	Piano + Flute

These are to be used for educational purposes.  More specifically, the
situation is that the pianist will be an accomplished musician, and the
other instrumental part should be of an easy enough level that it could
be tackled by a beginning or intermediate musician, such as an advanced
grade school or high school musician.

Anything from renaissance through romantic is ok.  Any suggestions would
be appreciated.  Thanks.


--
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
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Newsgroups: rec.music.classical
Subject: Re: Tchaikovsky's Piano Concerto No. 1
Date: 12 Nov 92 16:40:36 GMT
Organization: University of California, Irvine

In article <14638.2b011384@ohstpy.mps.ohio-state.edu> egras@ohstpy.mps.ohio-state.edu writes:
>
>
>	While we're asking about best Tchaikovsky recordings, would anyone
>like to recommend a favorite recording of his Piano Concerto No. 1 in Bb minor?

I haven't seen in mentioned yet (much to my surprise), so I'll put in
a plug for the RCA Van Cliburn with The Tchaikovsky #1 and The
Rachmaninov #2.  It's quite stylish (and on mid-price too!).

John D.
From: dinesh@civic.ece.cmu.edu (Dinesh D. Gaitonde)
Newsgroups: rec.music.classical
Subject: Any Classical Music Suggestions
Date: 10 Nov 92 02:51:26 GMT
Distribution: rec
Organization: Carnegie Mellon University


I am a newcomer to Western Classical Music. I just bought a CD with
Mozart's 'Eine Kline Nachtmusik' (sp?) and was very impressed. I would
like to explore more. Any suggestions? Please note that I am newcomer
and suggest accordingly.

Thanks in advance
dinesh
From: la@dcs.ed.ac.uk (Lewis Alderton)
Newsgroups: rec.music.classical
Subject: Re: Question on composer of a piece!
Date: 9 Nov 92 19:38:33 GMT
Organization: Department of Computer Science, University of Edinburgh

In article <BxBnoJ.Gyy@unix.amherst.edu>, mbfeld@unix.amherst.edu (Lorenzo the Magnificent) writes:
> 
> JAMES LEON FALCONE (910394f@ace.acadiau.ca) wrote:
> : onf@cbnewsg.cb.att.com (omar.farooq) writes:
> : >Does anyone know who composed "Night on Bald Mountain",
> : >and what year it was composed in?
> : >
> :
> : Modest Mussorgski made the first sketches for "Night on Bald Mountain" in 
> : 1860 and Rimsky-Korsakov finished orchestrating it in the 1890's.
> :              J.Falcone
> 
> Rimsky did more than orchestrate _Night On Bald Mountain_. Evidently, 
> Mussorgsky's sketches were enough to infer how the piece would go;
> Rimsky tightened them up into a more concise musical form.
> 
> I learned this listening to a recording of the "original" _Night On
> Bald Mountain_, untouched by Rimsky (but in full orchestrl score; maybe 
> someone else orchestrated a little).  Compared to the _Night_ I know and
> love, it was a real disorganized piece of crap!!!!!  It needed whatever
> Rimsky did for it.
> 
> The piece should really be considered a collaboration.

I always heard it refered to as "Night on a Bare Mountain"
-- 
+--------------------------------------------------------------------+
|                 |I do not know what I may appear to the world, but |
| Lovely Louie    |to myself I seem to have been only like a small   |
| la@dcs.ed.ac.uk |boy playing on the sea-shore, and diverting myself|
|                 |in now and then finding a smoother pebbly or a    |
|                 |prettier shell than ordinary, whilst the great    |
|                 |ocean of truth lay all undiscovered before me.    |
|                 |           SIR ISAAC NEWTON                       |
+--------------------------------------------------------------------+
From: JIMMONTY@delphi.com (Jim Monty)
Newsgroups: rec.music.classical
Subject: Text fo  of Bach's Coffee Cantata
Date: 5 Nov 1992 16:32:56 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

I'm hoping to find the complete text of Bach's Coffee Cantata, BWV 211,
in English as an ASCII text file.  If anyone has it, I'd appreciate
receiving a "copy" by e-mail.  (I don't have access to USENET news.  I
posted this message via a USENET e-mail server.)
 
Thank you.
 
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Jim Monty              jimmonty@delphi.com               Tempe, AZ (USA)
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re: It's in the wrists.
Organization: MIND LINK! - British Columbia, Canada
Date: Mon, 9 Nov 1992 14:23:05 GMT

> Godfrey Degamo writes:
>
>      Anyways, is there any great piano composer/virtuoso who had
> hands the size of mine or smaller?  (I'm looking for insipiration! :)
>


I saw Dudley Moore on TV yesterday playing Rhapsody in Blue with Michael
Tilson Thomas. Moore's hands seem pretty small...
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Looking for voice version of Ave Maria (Bach/Gound)
Date: 6 Nov 1992 10:00:55 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Christian Zick (sowhat@gphs.vuw.ac.nz) wrote:
: In article <16792@umd5.umd.edu>, eyu@hamlet.umd.edu (Ellen Yu) writes:
: > Hi everyone!
: > 
: > One of my favorite violin pieces is the Ave Maria by Bach/Gound.  I've
: > heard it has a voice version and I'd like to find a recording of it
: > (if it exists).  Any pointers would be greatly appreciated.
: > 
: I have heard a recording in Berlin, last year, broadcasted by the "classic music"
: station SFB III, and several times. I think, they mentioned the EMI label, but may be somebody else can confirm this. It was sung by the last Castrate (?? no dictionary) of the Vatican State. The recording has been made in the 191?s. The sound quality was amazingly fresh for this early recording. The singer is
: accompanied by a violin, if I remember correctly. It is the most wonderful performance of this piece I ever have heard. I should add that I don't like it.

The classic performance is John McCormack and Fritz Kreisler, with the
piano by (I think) Franz Rupp.

Newsgroups: rec.music.classical
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Help finding Paganini!
Organization: School of Computer Science, Carnegie Mellon
Date: Tue, 10 Nov 1992 06:17:14 GMT

In article <1992Nov10.043207.17575@noose.ecn.purdue.edu> lungtt@gus5.ecn.purdue.edu (Terence T. Lung) writes:
>Deutsche Grammophone has a whole series of recordings by Shlomo Mintz
>of Paganini's violin concertos 1-5 and 24 Caprices.  Other violin

If you actually consider the Caprices music, instead of mere exercises, I
would not recommend the Mintz recording.  Compared with Perlman's, his tone
is thin and, more importantly, there is very little feeling in his playing.
The Perlman will withstant repeated listenings better.  Also, Mintz is not
as well recorded.

>There's also a recording of his 24 Caprices out by Midori.

I like this one, too, but I'd probably still pick Perlman.  I like his
Paganini I, too.

-chris
Newsgroups: rec.music.classical
From: johnme@ecs.comm.mot.com (John Meyer)
Subject: Re: Bad Brahms (Was Re: Brahms symphonies question)
Organization: pcb_design
Date: Thu, 12 Nov 1992 11:41:33 GMT

In article <1992Nov11.184051.22829@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>In article <LR1SB49S@cc.swarthmore.edu>, abrocke1@cc.swarthmore.edu (Aaron Brockett) writes:
>
>[previous post deleted]
>|> 
>|> Speaking of bad Brahms, does any exist? Are there any pieces of his that
>|> people find lacking? I know that he tore up some works he found less than
>|> satisfactory.
>|> 
>
>IMHO, yes, there is some very bad Brahms. 
>
>I am thinking of Variations (or is it Rhapsody?) on a theme by someone, 
>perhaps Paganini, for piano. This is a perfectly dreadful piece, in the 
>same realm as some of Beethoven's piano music (apologies to the Beethoven 
>piano afficianados). Specifically, I found it dull, repetitive, and insipid, 
>almost stygian, to the point of being painful to listen to.
>
>Curiously, I find Brahms' symphonies delightful, as I do much of Beethoven's
>symphonic output. And it's not that I dislike solo piano, for I much enjoy
>the piano music of Chopin, Debussy, et al. Oh well, there's no accounting
>for taste.

THERE IS NO BAD BRAHMS! ONLY MISUNDERSTOOD BRAHMS,DUMMYS!
Newsgroups: rec.music.classical