HDTenEightyP/NetNews huggingface dataset:
From: korkosz@uicsl.csl.uiuc.edu (Richard Korkosz)
Newsgroups: rec.music.classical
Subject: Re: Best CD of Mussorgsky "Pictures ..."
Date: 6 Jan 1993 17:20:17 GMT
Organization: Center for Reliable and High-Performance Computing, University of Illinois at Urbana-Champaign
Distribution: na
NNTP-Posting-Host: uicsl.csl.uiuc.edu

mrad@ugcs.caltech.edu (Michael Radford) writes:

>apter@fid.morgan.com (Steve Apter) writes:

>[on Pictures From an Exhibition] 
>>The absolute hands-down best piano version is Sviatoslav Richter's
>>on Philips.

>Absolute hands-down?  Try Mikhail Pletnev on Virgin.


I agree with Steve and enthusiastically recommend Richter's recital
performance of the "Pictures ...".  For a modern recording in better sound,
I enjoy Yefim Bronfman's performance on SONY.  I have heard the Pletnev, and
much prefer Bronfman's performance.

Rick Korkosz
Univ. of Illinois at Urbana-Champaign
korkosz@uicsl.csl.uiuc.edu
Newsgroups: rec.music.classical
From: rafem@gvlf8-k.gvl.unisys.com (Ralph Marrone)
Subject: Christopher Rouse
Organization: Unisys Defense Systems, Great Valley Labs, Paoli, Pa
Date: Tue, 5 Jan 1993 16:15:42 GMT


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



Thanks in advance,


Ralph Marrone
From: bcc@tools8teradata.com (Brian Cantin)
Newsgroups: rec.music.classical
Subject: Re: Bruno Walter's Beethoven
Date: 8 Jan 93 16:22:22 GMT
Organization: NCR/Teradata Business Unit

Also try out Walter's Brahms symphony performances with the Columbia Symphony orchestra.  The performances
are as good as any in the stereo era.  Only Furtwanglers are clearly superior.
-- 
Brian Cantin
From: rika@informix.com (Rika Tsitsinia)
Newsgroups: rec.music.classical
Subject: Re: Tower Records
Date: 9 Jan 93 01:21:22 GMT
Distribution: usa
Organization: Informix Software, Inc.

In article <1993Jan8.072759.8437@news.acns.nwu.edu> kelsey@casbah.acns.nwu.edu (chris kelsey) writes:
>In article <1ihjthINNju5@menudo.uh.edu> chem91@Elroy.UH.EDU writes:
>>
>>Greetings...   To all those interested, I *believe* that the Tower Records
>>sale begins on the 8th and ends on the 12th of this month.  There are 
>>savings on all discs, but just how much I don't know... 
>
>
>hate to disappoint y'all, but...  tower's "blow-out" this year is merely
>their regular sale prices, but all labels at once.  and if your local tower
>is like the one in chicago, they spent the month of december marking *UP*
>most of the premium disks by $1 - $2.
>
>however, classical music *books* are 30% off.  now, if crown or b. dalton or
>barnes & noble would only carry cd's... ;)
>
>-- cgk
>.

	This has definitely _not_ been my experience with Tower in
    both San Francisco/Bay area and New York city.

	The sales are real; they don't mark up anything the previous
    month in order to put it on "sale" today. Not only that, but for
    full-price CDs ($13.99-$14.99) the sale is much better than their
    regular sales. In their regular sales these go for $12.99.
    During these 4 days they go for $11.99. You may find $1 not that
    important, but I bought 21 CDs today alone.

	But the major advantage is that _everything_ is on sale.
    Particularly labels like Reference, Chesky, Dorian, Elan and
    some others that never otherwise go on sale, or almost never. 

	Georgios
Newsgroups: rec.music.classical,alt.shenanigans
From: dementia@cheshire.oxy.edu (Daniel Steven Reinker)
Subject: Re: Anyone heard of Huenter Kradaken?
Organization: Occidental College, Los Angeles, CA 90041 USA.
Date: Wed, 6 Jan 1993 23:41:29 GMT

In article <1993Jan6.181346.9696@mnemosyne.cs.du.edu> jfurr@nyx.cs.du.edu (Joel Furr) writes:
>In article <1993Jan6.031408.21669@cronkite.ocis.temple.edu> sklar@picasso.ocis.temple.edu (Dave Sklar) writes:
>>
>>	I think he's on a Trivial Pursuit card.  The question's about a
>>composer who later became a zoologist.  I won't get it wrong anymore!
>
>Another little-known fact about Krakaden is that his speciality in zoology
>was lemur-training.  Before his death he was training some Ringtailed
>Lemurs to play the works of Mozart on miniature grand pianos.
>
Oh please! This sounds to me like utter bullshit, and I wonder how much
of the other information that has been posted on this newsgroup about
Kradaken has also been bullshit. I was very sincere in my desire to
know more about Kradaken when I first posted the inquiry, and now
I wonder if the responses I have received are actual Kradaken facts
or are simply some groups idea of a sick joke. I am still interested
in knowing about Kradaken, but if you all would please cut out the
silliness, thank you. Kradaken was a very talented and beautiful
composer of music, and I am sick of people playing jokes on my and
his expense. I would've thought rec.music.classical was above this
sort of sophomoric idiocy.

Steven


-- 
"You can't help that. We're all mad here."-The cheshire cat, Alice in WL

"A mass hysteria/a megalomania/reveal Dementia/reveal"-Metallica                
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Conductors, interpretations and fluffy nonsense 
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sat, 9 Jan 1993 02:13:53 GMT

In article <1993Jan9.005318.15578@hubcap.clemson.edu> epohl@hubcap.clemson.edu (A replicant) writes:
>   A few questions:

>   1)  What (and try to supply me with some objective ideas) 
>       is the difference between a "bad" or a "weak" conductor
>       and a "good" or a "strong" conductor?

Objective?  You want *objective*?  Sorry, wrong discussion!

The difference has a lot to do with "I like this conductor" and
"I don't."  Some people use criteria such as strict tempi/wishy-washy
tempi, or perhaps strict tempi/wonderfully flexible tempi; others
revel in this conductor's use of orchestral color, while still others
will excoriate the same conductor for using cheap effects.  

A strong conductor is one who makes lots of people say, "gee, that was
good."  Lots of people who let their opinions be known, of course.

>   2)  Can a "good" conductor making a strong but unusual  
>       interpretation of a work come out sounding worse
>       than a "bad" conductor making a typical interpretation
>       of the same piece?

Sure.  The category of magnificent failure is not at all unknown.  
Some would place some of Leonard Bernstein's interpretations in
this category; others consider those very recordings to epitomise
his style.

>   3)  Why do some recordings get thrown into the bargain bin
>       at music stores for $3-$9 and others get placed in
>       a real shelf and are appraised in the $10-$19 range?

All kinds of reasons.  Some recordings cost a lot to make.  Some 
command higher prices because they have name recognition.  Some are
new, some are re-issues.  As with cars and wines and so on, recording
companies make luxury, midline, and budget products.  The price is 
not necessarily an indicator of quality -- it reflects the company's 
attempt to make maximum profit.

>   Fluffy nonsense:

>   1)  Name the recording you think best exemplifies
>       how an interpretation of a work can really make
>       a good and noticeable difference.

Bernstein's _Pathetique_.  Or maybe Horenstein's Mahler 3.  Or perhaps
Toscanini's Beethoven 7.  Or the Pears/Britten _Winterreise_, or the 
Fritz Busch _Don Giovanni_.  I could point out a dozen neat things from
any of those recordings, each of which makes a *big* difference.

Roger
From: freed@ccwf.cc.utexas.edu (G. Freed)
Newsgroups: rec.music.classical
Subject: speaking of warhorses
Date: 10 Jan 93 07:06:08 GMT
Distribution: rec.music.classical
Organization: The University of Texas at Austin, Austin TX

for some reason the talk of "warhorses" (in re: Bolero) made me
think of two amusing things about the Mother Of All Warhorses:

The first was an add for one of those "100 Great Classical Pieces"
records one can order.  On the list was [sic] Pacubel's Canon.

The second was a cartoon on someone's door in the music department
here, the caption "Musicians in Hell" was written under a picture of
a man sitting in a room where a voice over a loudspeaker announced:
"For your listening pleasure we will now play Pachelbel's Canon for
the 300000th time"
Newsgroups: rec.music.classical
From: osborne@software.org (Skip Osborne)
Subject: Re: Best CD of Mussorgsky "Pictures ..."
Reply-To: osborne@software.org (Skip Osborne)
Organization: Software Productivity Consortium
Date: Wed, 6 Jan 1993 15:37:12 GMT

In article <1993Jan5.215131.2986@bme.ri.ccf.org> christoj@bme.ri.ccf.org (Judy 
Christopher) writes:

>	Please help - I need to get for my husband the absolute best CD of
>	Pictures at an Exhibition (Ravel).  What do you recommend?
 
	The newer Telarc recording, with Yoel Levi, is IMHO an improvement over 
the older Telarc in both performance (a little) and recorded sound (a lot). But, if 
you want "the absolute best", you have to specify the dimension of bestness. For 
instance, you could get into a long discussion over the best orchestration...Ravel's 
treatment may have the largest number of performances (including the above 
specimens), but I'm not convinced it's the best....

Skip Osborne
Software Productivity Consortium
Herndon VA 22070

                       Notice 
	Due to budgetary constraints the light at 
	the end of the tunnel is being turned off.

Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Virtuoso Oboes
Organization: School of Computer Science, Carnegie Mellon
Date: Wed, 13 Jan 1993 03:46:12 GMT

In article <1993Jan12.212533.19820@murdoch.acc.Virginia.EDU> rwd4f@poe.acc.Virginia.EDU (Rob Dobson) writes:
>
>So, who ARE the virtuoso oboe players these days? I was stumped by this
>question last night. With most instruments I can recommend one or more
>players who play their instrument exceptionally well, but when asked
>"who should I look for when trying to buy oboe music?" i draw a blank.
>Any help? Email or post.
>
So I'll start.
Heinz Holliger
Omar Zoboli[an Italian who studied with Holliger]
These are the two guys that I would check out first.

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Quartet
hsmoliar@db1.speech.cs.cmu.edu
Newsgroups: rec.music.classical
From: furufuru@ccsr.u-tokyo.ac.jp (Furue Ryo)
Subject: Re: who is the concert master of berlin phil?
Organization: Center for Climate System Research, Univ. Tokyo, Japan.
Date: Fri, 8 Jan 1993 12:40:54 GMT

In article <1993Jan8.070149.3941@colorado.edu> duli@boulder.Colorado.EDU (Li Du) writes:

>In article <1993Jan8.032916@debbie.cc.nctu.edu.tw> (Crazy for Mozart !) writes:
>>:  paganini's admirer (dwong@chopsuey.pico) wrote:
>>:  does anyone know?  and is he asian??
>>
>>He is Claudio Abbado, an Italian!
>>--
>>wang ming hong
>>
>	 Oh, come on! The guy is asking about the concert master,
>	 not the conductor.
>

I think BPO has more than one solo violinist; one plays as the
concert master in a concert, another plays in another concert.
And one of them is a Japanese. Yasunaga is his surname.

Ryo FURUE
furufuru@ccsr.u-tokyo.ac.jp
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
From: sowhat@gphs.vuw.ac.nz (Christian Zick)
Date: Wed, 6 Jan 1993 05:28:53 GMT
Organization: Institute of Geophysics, Victoria University of Wellington, NZ

In article <1993Jan6.050108.15589@noose.ecn.purdue.edu>, lungtt@gus.ecn.purdue.edu (Terence T. Lung) writes:
> In article <1983@spam.ua.oz> ahanysz@spam.ua.oz (Alexander Hanysz) writes:
> >zorro@picasso.ocis.temple.edu (John Grabowski) writes:
> >                                                      `
> >> I must admit I'm starting to enjoy these "Greatest All-Time" and "Favorite"
                      ^^^^^^^^^^^^^^^^^
                      I don't.   

> >> threads, so I'm starting another one.  :-)   The question is, What is your
> >> favorite piano concerto?
     ^^^^^^^^^^^^^^^^^^^^^^^^
      C.V.Alkan's Concerto for Piano Solo. Because it doesn't require an
orchestra to play it. It's the pianist who has to do it all himself. Beyond
all the marvellous structure, it is a nice paraphrase on romantic piano concerts.
     

> 
> >> And a very important sub-question: What's your favorite *Beethoven* piano
> >> concerto?
> >
> >The fourth.
> The third
  ^^^^^^^^^ 
  We expect to see three more ones being named here very soon ...

> 
> >								Alex.
>             Terence
> 
> 
                           Christian 
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico ( paganini's admirer )
Subject: water mountain suite, again???
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Sat, 9 Jan 1993 00:30:25 GMT

I have posted this question twice now and didn't see any reply.  Can anyone please
email me the answer directly if they know who the polish composer was?

The title was supposed to be "water mountain ..." for a 60's poish movie score.
According to KKHI (SF, CA) this piece is frequently played nowadays...

Thanks in advance.

David W.
Newsgroups: rec.music.classical
From: rodean@fc.hp.com (Bruce Rodean)
Subject: Re: Bruckner (was: Re: Best finale)
Date: Mon, 11 Jan 1993 23:03:54 GMT
Organization: Hewlett-Packard Co., Fort Collins, CO
X-Newsreader: TIN [version 1.1.8 PL6]

Steve Apter (apter@fid.morgan.com) wrote:
> In article <1993Jan10.003911.25033@netcom.com> bryan@netcom.com (Bryan Higgins) writes:
> >dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
> >
> >>cb@tamarack13.timbuk (Chris Brewster) writes:
> >
> >>> in addition to the traditional three, there are Berlioz, Bartok, Berg,
> >>> Bruckner, and Boulez.
> >
> >>BTW you forgot Busoni....
> >
> >And Britten!
> 
> Brian

And also Bantock, Barber, Bax, Bizet and Bliss...

--
Bruce Rodean                          Hewlett-Packard Company
rodean@fc.hp.com

Newsgroups: rec.music.classical
From: hakari@lars.acc-admin.stolaf.edu (The Conformist Contrabass Clarinetist)
Subject: Re: N. American Choral Concerts Jan. 15 - 31 (King's Singers)
Organization: St. Olaf College; Northfield, MN
Date: Sun, 10 Jan 1993 02:57:57 GMT

In article <1161@dscatl.UUCP> mgresham@dscatl.UUCP (Mark Gresham) writes:
>THE KING'S SINGERS: 1993 tour concerts, Jan. 15 - 31


This may be an entirely absurd question, but do the King's Singers have
memorabilia available for purchase at their concerts?  Recordings, sheet music,
and the like...Let me know if they do...

--Andrea, contrabass clarinetist extraordinaire and King's Singers fanatic

Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: So exactly what's wrong with Bolero, anyway?
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Fri, 8 Jan 1993 16:13:47 GMT

In article <1993Jan8.045004.15896@noose.ecn.purdue.edu> lungtt@gus.ecn.purdue.edu (Terence T. Lung) writes:
>In article <1993Jan8.035244.16097@mnemosyne.cs.du.edu> clavazzi@nyx.cs.du.edu (The_Doge) writes:
>>In article <C0ILLv.EsB@world.std.com> kaya@world.std.com (Kaya Bekiroglu) writes:

>>>Pardon my ignorance of classical music, but what is wrong with
>>>Bolero?  I have heard only a portion of it, and it sounds alright
>>>by me.. I happen to like it.

>I think the question is where does it start and where does it end?
>If you've heard a portion of it, you've heard all of it.
>You can take the same portion and play with the volume and you've done it.

This is decidedly not true, unless your volume control does tone colors,
too.  Moreover, the ending is quite impressive--a musical collapse hardly
paralleled elsewhere.  (Mahler 6?  Strauss Don Juan?)

>>	There's nothing inherently wrong with it, I suppose; it just doesn't
>>wear all that well after repeated hearings.  And if you've been listening to
>>concert music for any length of time (over 30 years in my case) you just flat
>>out get *tired of hearing it*!  Ditto for many of the "top 40 classics", for
>>that matter.
>>	Besides, Ravel himself regarded it as rather minor stuff, as I recall.

He seems to have seen it partly as a prank/commentary.  He was also past 
his prime when he wrote it.  Compare it to La Valse, for instance.

Roger
From: shekhar@zeus.tamu.edu (SHARAT SHEKHAR)
Newsgroups: rec.music.classical
Subject: NEED KLEMPERER'S INTERPRETATION OF PRELUDE UND LIEBESTOD
Date: 12 Jan 1993 15:54 CST
Organization: Texas A&M University, Academic Computing Services
Distribution: world
NNTP-Posting-Host: zeus.tamu.edu
Keywords: PRELUDE & LIEBESTOD, WAGNER, KLEMPERER
News-Software: VAX/VMS VNEWS 1.41    

	I will be indebted to anyone who can mail me (I'll pay all expenses)
a cassette tape recording of the "Prelude and Liebestod" from Richard Wagner's
Tristan and Isolde, ONLY if the performance is conducted by Otto Klemperer
	            ^^^^
	I am very particular about Klemperer because I once heard a recording 
of performance of the Prelude and Liebestod conducted by him once on the BBC's
Sunday night concert program and it was out of this world .... 
	
	I have heard several other performances of this work ( I own 2 others)
and none come close to Klemperer's.

	This is of course an opinion and if anyone out there has heard a
performance that they particularly like, I'll be glad to know about it.

	If you DO have what I'm looking for , please mail it to

		              SHARAT SHEKHAR,
	 		      4402 ASPEN, #D,
			      BRYAN, TX 77801.

	Do let me know what the expenses are in advance. 
	My Email address is SHEKHAR@zeus.tamu.edu

	Thanks in anticipation - Sharat
From: gerritse@sci.kun.nl (Bart Gerritse)
Newsgroups: rec.music.classical
Subject: Re: Schubert recommendations
Date: 6 Jan 93 08:44:30 GMT
Organization: University of Nijmegen, The Netherlands

In <C0BzJy.5w9@sci.kun.nl> gerritse@sci.kun.nl (Bart Gerritse) writes:

>Steven Chung:

>>>Any recommendations on recordings of Schubert's two piano trios and his
>>>Fantasia D934?  I've only seen Kremer's recording of the Fantasia, and I'm
>>>not particularly a fan of his.

>Francois Velde:

>>For the piano trio no. 1, Thibaut-Cortot-Casals is outstanding.
>>For both, I rather like the Beaux-Arts Trio.

>I completely agree. The Thibaut-Cortot-Casals performance is on a
>EMI Reference disc together with the fantasie D934, by Adolf Busch and
>Rudolf Serkin. The performances are from the 1930's but sound well for the
>time. If you like the pieces you must hear this one! The Beaux Arts trio is
>a good modern choice for the trio's (on 2 mid-priced Philips discs). Heifetz
>has recorded the fantasie (on RCA mid-price, with Brahms piano quartet op.
>60 and Beethoven string trio op. 9 (?)). I like it.

I have been too impulsive writing this, as Dan Kahn kindly pointed out. I
have mixed up two EMI discs with vintage recordings of the Schubert 
pianotrios:

EMI CDH 7 61024 2
Schubert	pianotrio no 1 	D898
Beethoven	pianotrio no ?	opus 70		"Geister-trio"
	Cortot
	Thibaud
	Casals

EMI CDH 7 61014 2
Schubert	pianotrio no 2 	D929
Schubert	fantasie	D934
	Serkin
	Busch, Adolf
	Busch, Hermann (trio only)

All performances are great. Sound is as good as you may hope for (the
recordings are from 1926 - 1935). If you like Schubert's chamber music you
should have heard these. (the same must be said about two more EMI Reference
discs: Schubert string quartets no 14 and 15 by the Busch Quartet, and
Schubert piano quintet by Schnabel and the Pro Arte Quartet)

>Bart Gerritse
Bart Gerritse
From: kam@soliton.physics.arizona.edu (Kam-Yuen Kwong)
Newsgroups: rec.music.classical
Subject: Name this piiiiii..cture, Please
Date: 10 Jan 93 08:17:46 GMT
Organization: University of Arizona - Physics


   I know this is way off the major interest of this group but I think 
here is the only place where I can find the answer.

  EMI has a set of CD's for the complete piano concertos of Saint-Saens 
(EMI 7 69443), played by Aldo Ciccolini, Orch. de Paris conducted by S. Baudo

  I may not be interested in the music but do like the picture on the
cover of the jewel box. It is a paint about some boys looking at a poster
in front of a store. What's the name of the paint and who is the painter ?
Thanks for any information.
Newsgroups: rec.music.classical
From: jfisher@hplabsz.hpl.hp.com (Josh Fisher)
Subject: Re: Mozart, Tourettes and Spelling.
Date: Fri, 8 Jan 1993 16:44:09 GMT
Organization: Hewlett-Packard Laboratories Palo Alto,CA

In article <1ik4hvINN6af@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:

  .
  .
  .
>A few months back, the New Yorker had a lengthy article by Oliver Sacks on
>a case of Tourette: the man was a highly skilled and successful *surgeon*
>who lost all signs of the syndrome while he was practising, and returned 
>to babbling, twitching and compulsive touching of things as soon as he left
>the operating room. So no, I don't think Tourette by itself would have
>interfered with his skills (it would have caused a problem with social
>acceptance, if that is what you meant; i.e., he would have been locked
>away at a tender age).
>
>Anyway, I think that, since the only evidence are the obscenities in his
>letters, there is not much of a case for Tourette.
>-- 
>
>	Francois Velde

I have a friend who is a professional pianist whose Tourette Syndrome
completely disappears when he plays.			-- Josh Fisher


Newsgroups: rec.music.classical
From: kaya@world.std.com (Kaya Bekiroglu)
Subject: So exactly what's wrong with Bolero, anyway?
Organization: The World Public Access UNIX, Brookline, MA
Date: Fri, 8 Jan 1993 02:58:42 GMT


Pardon my ignorance of classical music, but what is wrong with
Bolero?  I have heard only a portion of it, and it sounds alright
by me.. I happen to like it.

I first heard it on my local classical radio station (WCRB)
during their "Classical Radio Countdown"  The DJ said that
he gets many requests for it late at night by studying college
students.  I does have a lonely, march-by-moonlight quality to it...

I was following the Ravel thread and picked up the distasteful
remarks concerning Bolero and hope someone can elaborate on them
for me.  I don't want to be listening to a shallow piece or anything
(peer pressure really gets to you after awhile, doesn't it?).
From: lynn@urbana.mcd.mot.com (Lynn D. Newton)
Subject: new method of cataloging Beethoven's music?
Reply-To: lynn@phx.mcd.mot.com
Organization: Motorola MCG, Urbana Design Center
Distribution: rec
Date: Mon, 11 Jan 1993 16:47:16 GMT
Comments: Hyperbole mail buttons accepted, v3.06.


Last night I was at a piano recital (Oleg Volkov, in Scottsdale AZ),
where the artist opened with Beethoven's 32 Variations in Cm. Rather
than listing the usual opus cataloging number, it was specified with
the number WoO80. I'm not familiar with this cataloging system. Does
someone out there know what it's about?

I thought maybe it was a posthumous work, and perhaps it is, but I
remember hacking on that piece myself many years ago, and don't recall
that it was ... I probably would have remembered.

email replies preferred, please, since I barely have time to scan the
headers on group now and then.

Thanks much.


--
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Lynn D. Newton            | System Test
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