HDTenEightyP/NetNews huggingface dataset:
From: UCSBILLB@ubvm.cc.buffalo.edu (William H Baumer)
Newsgroups: rec.music.classical
Subject: Holiday Greetings
Date: 23 Dec 92 01:45:26 GMT
Organization: University at Buffalo

To all the lovers of classical music, whose comments are continuously
enjoyable:
 
 
                        Happy Holidays
 
                              and
 
                     Best Wishes for 1993
 
 
                       William H. Baumer
Newsgroups: rec.music.classical
From: coren@speed.osf.org (Robert Coren)
Subject: Re: Most drawn-out ending (Was: Best endings)
Organization: Open Software Foundation
Date: Mon, 21 Dec 1992 14:56:52 GMT

> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
> 
> 
> >I'm gonna get flamed for this, but...
> 
> >Beethoven's 5th Symphony.
> 
> >Sounds like it's going to wrap up about five different times in the finale.

I've always found the (excessive?) bombast that ends the Beethoven 5th
to be somewhat humorous, and I'm prepared to believe that Beethoven
intended it that way. I love it, by the way.

I think of all the "famous" pieces that I love, the one whose failure
to end in a timely fashion :-) annoys me most is the Dvorak 9th. I
keep thinking how wonderful it would be if the final cadence were the
last version of the chord sequence taken from the opening of the
second movement, with that slightly bizarre "Neapolitan" chord.
Instead he insists on piling on the bombast,revisiting the opening of
the last movement in several guises, and going up and down that silly
major arpeggio, etc.

Newsgroups: rec.music.classical
From: paul.a.webb@10nd.edu (paul webb)
Subject: Re: the best finale!
Followup-To: rec.music.classical
Organization: University of Notre Dame
Distribution: rec
Date: Mon, 28 Dec 1992 02:11:29 GMT

It seems obvious to me and to many musicians that the greatest finale of
them all is the one in Act Two of Mozart's "Marriage of Figaro".   The
master uses over a thousand measures to expand a duet into a septet.
From: yedid@CAM.ORG (Gabriel Yedid)
Newsgroups: rec.music.classical
Subject: Has Anybody out there seen (or heard) music by Langlais?
Date: 23 Dec 92 05:10:43 GMT
Organization: Champlain Regional College, St-Lambert QC  CANADA


     It isn't very common (especially in our day and age) for composers
born in this century to quickly become unheard of.  Such a case seems
to be the fate of French organist-composer Jean Langlais, a contemporary
of Messiaen's (1907-1990, compared with 1908-1992 for the latter), who
seems to have been so obscured by the BIRDMAN's shadow that his music
(at least here in Montreal) seems to have disappeared from the shelves
of even those stores considered "classically respectable".  The only way
to hear his music is at live recitals (fortunately, in a city that 
gravitates towards French tastes [it IS a French-speaking city], there
are a fair number of recitalists that perform his music very often), and 
it is impossible to make all of them.  Clerks look at me funny when I
mention the name.  I have found his organ works (complete and as a series
!) available through the Musical Heritage Society, but I can no longer 
afford the prices they are asking.  Is there anybody in Canada or on
the U.S. Eastern Seaboard (not South of Maryland) who can tell me where
his music is still sold (Tower Records in NY maybe?), and at what price
(indicate Canadian or American $$)?
>
My address is:  yedid@champlain.cam.org
>
>
Thanks,
>
>
                                              Gabe Yedid
Newsgroups: rec.music.classical
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Re: FYI: Lovely Music....
Organization: University of Illinois at Urbana
Distribution: usa
Date: Fri, 25 Dec 1992 20:50:57 GMT

Gregory Taylor writes
> In light of the recent release of Robert Ashley's recent 
> opera "Improvement" ...

Can I coax someone into posting a review of this opera? Opinions, or  
JustTheFacts would be appreciated.

Ed erwin@lisboa.ks.uiuc.edu
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Choir of Boys and Youths
Date: 29 Dec 92 16:06:27 GMT
Organization: Digital Systems Co., Atlanta GA

THANKS to those who have sent copies of the original posting!
I have what I need so further copies are not necessary.
Thanks again!

Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

=====
From: Roberta.Wallis@launchpad.unc.edu (Roberta Wallis)
Newsgroups: rec.music.classical.guitar
Subject: Recommendations for microphones
Date: 30 Dec 92 23:01:45 GMT
Organization: University of North Carolina Extended Bulletin Board Service


I would like to buy a microphone to use for recording purposes.  It
doesn't need to be a super high quality professional mike, as my primary
use will be to record my practice sessions.  I know practically nothing
about them, other than that some are omni-directional and some are
uni-directional.  What's the best type to use for a classical guitar?  Can
it also be used for voice (I sing too)?

Roberta Wallis


--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  laUNChpad.unc.edu or 152.2.22.80
From: edgar@coos.dartmouth.edu (Benjamin M. Brainard)
Newsgroups: rec.music.classical.guitar
Subject: mandolin books?
Date: 24 Dec 92 18:29:53 GMT
Organization: Dartmouth College, Hanover, NH


 Hello. I am a beginning mandolin player looking for
instructional books, specifically the Bickford method.
Unfortunately, this method is out of print.   I was wondering
if any kind sould out there would be interested in selling me 
copies of the Bickford mandolin method, preferably the four 
book set, but the earlier editions would be just as helpful.
Any help you oculd give me on this topic would be greatly 
appreciated.
Thanks!!
edgar
Newsgroups: rec.music.classical.guitar
From: a111@mindlink.bc.ca (Anthony J. Lynn)
Subject: Re: Lute
Organization: MIND LINK! - British Columbia, Canada
Date: Thu, 31 Dec 1992 14:58:41 GMT

> Bob Tartaris writes:
>
> Also, how does one go about finding a lute to purchase?  I don't remember
> ever seeing a lute for sale in any music store.  Can someone recommend a
> good source for a beginner?


You could try calling different guitar makers until you find someone who also
makes lutes or someone who knows of someone making lutes.

--
----------------------------------------------------------------------------
Anthony Lynn - (a111@mindlink.bc.ca)

"Get the car, Krantz," he screamed. "Get the car, get the car!..." - L.Cohen
----------------------------------------------------------------------------
From: xxz8987@hertz.njit.edu (xiaohong zhu evsc stnt)
Newsgroups: rec.music.classical.guitar
Subject: new 425sx25 for sale
Date: 31 Dec 92 23:21:45 GMT
Organization: New Jersey Institute of Technology, Newark, N.J.


 i have a brand new 486sx25 for sale.

 minitower case
 170mb western digital ide hdd
 4 mb ram
 1mb vga card
 9648 fax modem
 1.2 and 1.44 fdd
 101 keyboard
 znix-mouse
 svga .28 gold star
 one year warranty
 $1305.00 + shipping
 installed win3.1, dos5.0, winfax, winworks, virus guard,no manuals
 email add: xxz8987@hertz.njit.edu
Newsgroups: rec.music.classical.guitar
From: prichard@mksol.dseg.ti.com (John C Prichard III)
Subject: Re: Lute
Organization: Texas Instruments Inc
Date: Thu, 31 Dec 1992 18:28:51 GMT

In <19061@mindlink.bc.ca> a111@mindlink.bc.ca (Anthony J. Lynn) writes:
>> Bob Tartaris writes:
>>
>> Also, how does one go about finding a lute to purchase?  I don't remember
>> ever seeing a lute for sale in any music store.  Can someone recommend a
>> good source for a beginner?

Anthony Lynn - (a111@mindlink.bc.ca) writes:
>You could try calling different guitar makers until you find someone who also
>makes lutes or someone who knows of someone making lutes.

I just received a beautiful handmade guitar (quilted maple back)
from Don Banzer, a luthier in Ashtabula, Ohio.  I'm pretty sure
he makes lutes (since he plays them), but his next 33 guitars/mandolins are
sold.  So, I don't think he can start on anything soon.

John Prichard
Newsgroups: rec.music.classical.guitar
From: frankc@tgf.tc.faa.gov (Frank Coffman)
Newsgroups: rec.music.classical.guitar
Subject: looking for teacher in southern NJ area
Date: 28 Dec 1992 14:36:50 GMT
Organization: FAA Technical Center, Pomona, NJ	
Distribution: usa
NNTP-Posting-Host: offserv2.faa.gov
Summary: looking for teacher
Keywords: guitar teacher

I am considering resuming lessons in classical guitar starting in  
January. I'm looking for a teacher in southern New Jersey. If  know  
one who is good, please email to me with details (prefereably including  
experience and review). Thank you.


--
*********************************************************************
* Frank Coffman     TGF (Target Generation Facility)                *  
*                   FAA Technical Center, ACN-400c                  *
*                   Atlantic City Int'l Airport, NJ 08405           *
Newsgroups: rec.music.classical.guitar
From: tartaris@hsi.com (Bob Tartaris)
Subject: Lute
Organization: 3M Health Information Systems, Wallingford CT
Date: Mon, 28 Dec 1992 14:47:01 GMT

In article <basinski-141292161813@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>  or you could take the approach another friend of mine did - he cut off
>all his nails and switched to lute! Of course, he *really* is into 
>renaissance and baroque music, but at this point he is a really good
>lute player, and plays without nails.

I too really enjoy renaissance and baroque music and have considered learning
to play the lute.  Is it alot different than classical guitar?  Can someone
familiar with basic classical guitar technique learn to play the lute using
a good book or is it so different that a teacher is recommended or required?
If a good book will do, does anyone have any recommendations?

Also, how does one go about finding a lute to purchase?  I don't remember ever
seeing a lute for sale in any music store.  Can someone recommend a good 
source for a beginner? 

Thanks,
Bob
-- 
Robert P. Tartaris                 +  "We can do no great things;           
 3M Health Information Systems     +   only small things with great love."   
  tartaris@hsi.com		   +          - Mother Teresa of Calcutta
    ...!uunet!hsi!tartaris         +                      
Newsgroups: rec.music.classical.guitar
From: kene@sequent.com (Ken Ewing)
Subject: Re: Good books
Organization: Sequent Computer Systems, Inc.
Date: Mon, 21 Dec 92 16:38:36 GMT

In article <20DEC199212023160@meena.cc.uregina.ca> pdickof@meena.cc.uregina.ca (PDICKOF) writes:
>How about book-reviews on the good books people know on guitar-related topics?
>Perhaps there'll eventually be an FAQ. I'll start.

>Charles Duncan
>The Art of Classical Guitar Playing
>Summy Birchard (sp?)
>
>	I used to own this and am considering re-purchasing. It seems to me the
>        most clear, practical guide to a variety of technical issues. I had
>        Carlevaro's "School of Guitar" at the same time (not any more), and
>        thought it less clear (it's in translation), and more radical; I
>        considered Duncan better (though I suspect that many of the ideas in it
>        are originally from Carlevaro). I would really like comments and
>        comparisons here, especially from Mark Basinski as a former student of
>        Carlevaro's. 

I second this one.  I had taken classical lessons for a number of years, 
then stopped lessons for even more years.  After that spell I bought this 
book, and literally every question I had about technique was answered in 
this book.  

This book is intended for advanced guitar players.  Duncan states in his 
introduction that the purpose of the book is to explain intricacies of 
technique that would enable a good guitar player to advance to virtuoso 
level.  (Only your own hard work will actually raise you to that level.... 
I'm still working on it.  :-) ) 

  Ken Ewing 
  Sequent Computer Systems, Inc. 
  Beaverton, Oregon 
  kene@sequent.com 
  ...!uunet!sequent!kene
From: stu@luna.boeing.com (Stu Stern)
Newsgroups: rec.music.classical.guitar
Subject: From novice: Is anyone familiar with this guitar maker?
Keywords: luther guitar maker
Date: 22 Dec 92 21:27:57 GMT
Reply-To: stu@atc.boeing.com
Organization: Advanced Systems Lab, Boeing Computer Services


I am a novice with respect to guitar playing.  About 20 years ago I purchased
a flamenco guitar from a dealer in New Orleans for $200.  With the recent 
discussion about guitar makers, I began to wonder about my guitar's origins.  
The label inside the guitar states:

	Vicente Carrillo Cantos
	Founded in 1836
	Casasimarro (Cuenca), Espana

Has anyone ever heard of this guitar maker or the quality of such an
instrument?

Any info would greatly be appreciated.

Thanks in advance,

Stu Stern
stu@atc.boeing.com
...uw-june!bcsaic!stu
Newsgroups: rec.music.classical.guitar
From: sofoklis@cs.cornell.edu (Sofoklis Efremidis)
Subject: Comments sought on Thomas Humphrey classical guitars
Followup-To: sofoklis@cs.cornell.edu
Organization: Computer Science, Cornell University, Ithaca NY
Distribution: Cornell University
Date: Mon, 21 Dec 1992 21:49:46 GMT


Hello everybody,

I am posting this message to seek the net's wisdom on classical guitars in
the price range of $5000-6000 since I am looking to buy such an instrument.
I had the chance to play with many guitars in this price range last week.
The one that really impressed me was the Humphrey Millenium. A brand new
costs $6000 and takes 3-4 years to be delivered. Even though I was a bit
sceptical about its unconventional design, I loved its loud and warm sound.
It was also very easy for the left hand, especially for the high-pitch notes.
Overall I got an excellent impression about the instrument. I tried several
other guitars in the same price range (Ramirez, Velasquez, Rozes, Contreras
etc.) but I was either not impressed or dissapointed with most of them. Rozes
sounded pretty good but it was a bit hard for my left hand.

I would like to ask the people of the net what is their opinion about the
Millenium. Any comments on this instrument will be highly appreciated.

The only problem with the Millenium as far as I am concerned is the time that
it takes to be delivered (sure, a Fleta can take 15 years, but 3-4 years is
still a long time). An alternative is buying a 1976 or 1981 Humphrey for $4000.
I tried the 1976 instrument and liked it better than the Ramirez, Velasquez,
Roses and Contreras that I played with but the Millenium was much more
superior in all respects. The 1976 guitar had a small crack at the back
(natural wood crack, not crack-by-accident) that worried me a bit. I do not
know how much it may have affected its sound. I didn't have the chance to play
with the 1981 Humphrey but I was told that it is even better sounding than the
1976. Both these guitars are of the conventional design.

Now the second (and last) question is this: what is your opinion on 1976
and/or 1981 Humphrey in general? Is a crack a good reason not to purchase
the guitar for this price? Is there a possibility of the crack getting worse?

Any comments and/or suggestions will be highly appreciated. I will try to
summarize all responses that I will get through e-mail.

Thanks a lot in advance,
Sofoklis

-- 
-------------------------------------------------------------------------------
Sofoklis Efremidis
4120 Upson Hall
Cornell University
Newsgroups: rec.music.classical.guitar
From: eric@radio.sps.mot.com (Eric Cheval)
Subject: Re: Favorite instruments of classical guitar virtuosos
Keywords: Favorite instruments of classical guitar virtuosos
Reply-To: eric@radio.UUCP (Eric Cheval)
Organization: /usr/news/lib/organization
Distribution: usa
Date: Tue, 29 Dec 1992 15:30:46 GMT

this message is for att!ihlpe!chenl (CHENL not CHEN1). my direct mail to you
was rejected.

my teacher sent your list of CLASSICAL GUITAR virtuosos and their instruments
to Thomas Humphrey who would like to help you to correct it and extend it.

If you want to get in touch with him, Humphrey's number is 212-799-0713

Eric.
ps: does anybody know about a guitar maker in san antonio; i think his name
 is tom backshear (not sure). does anybody play his guitars?
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Brazilian Rosewood
Date: 21 Dec 92 21:39:36 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Dec20.140250.7491@jarvis.csri.toronto.edu>,
elf@dgp.toronto.edu (Eugene Fiume) wrote:
> 
> I think I used to know the answer to these when I used to hang around with
> luthiers.  What are the visual and sonic differences between African and
> Brasilian rosewood?  Is the Brasilian variety synonymous with "Jacaranda"?
> Is African still plentiful?
> 

		I've never heard of "African rosewood"? The only varieties that I've
heard
as suitable for concert quality classical guitars are Indian rosewood or
Brazilian rosewood. The spanish term for rosewood is often used:
 "palosanto"

> Also, has there been much success with artifical guitar backs for acoustic
> guitars? 

		Again, speaking of concert quality classical guitars, no, none at all, 
but I don't know that there has been much effort in that direction up to
now.

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Shostakovich symphony recommendations
Date: 23 Dec 1992 17:19:34 GMT
Organization: University of Houston
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu

[...]
>
>     Although you asked for recommendations, I'll give you a warning.
>Until you become a Shostakovich fanatic, avoid #2 and #3.  They have
>moments, but they're both marred by some of the most dismal choral
>music ever written.  The music itself is only pedestrian, but it was
>written while Shostakovich was attempting to follow Stalin's dictates
>and the texts are awful, politically correct (Soviet-style), claptrap.
>
>				Charlie


By no means...  #2 and #3 are musically interesting (Shostakovich's most
"avant garde" period) and whether you consider the texts to be "claptrap" 
depends more on your political than your aesthetic sensibilities.

These works were written in the 1920s, **before** any extensive involvement
of the Party in directing musical life.  Musical conservatives, who 
gained the upper hand with Party support in the 1930s probably deplored 
these early works by this young "upstart" composer...

Bill

+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.classical
Subject: Re: Gorecki's Symphonly # 3
Date: 29 Dec 92 15:23:20 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

gt0963d@prism.gatech.EDU (Deeptendu Majumder) writes:
>I bought a cheap version of this work as performed by East European
>artists...
>I was wondering whether the work was created for the movie or the
>movie ended up using the already existing work ? And I do not know
>if the tape contains the entire work even though it appears to be so.
>I would appreciate it very much if somebody can give the track listing
>of the work from the more expensive (and probably better, I do not
>know) Dawn Upshaw, et al recording. 

The symphony is a three movement work. Timings are roughly 1-26:00,
2-10:00, 3-19:00 or so (this from memory on the Upshaw. I am playing
a hunk of it as a part of the year's retrospective show part II this
Sunday, so I had to look at these things. My later-in-the-evening
co-programmer and I both had the problem of having it on our "best"
lists and not having the time to play the whole thing, so we squabbled
about who would play which bits when. This radio stuff is tough
sometimes.
 
>I enjoyed the symph very much even with my very limited knowledge
>about classical music. I have not heard any of his works before
>including the performances by Kronos Quartet.

I'd really recommend that you think someday of acquiring the Nonesuch
recording; of the two, I really think that the sound of the recording
and Upshaw's voice make it the superior of the two. However, in the 
meanwhile, there's another Nonesuch recording of Gorecki's which includes
a recording of the Kronos Quartet's performance of the piece of his
I'd heard before encountering the symphony - it's called "Already
It Is Dark". The other work on the disc eludes me, but I'm certain 
that there are some Gorecki fans out in netland whose sandals I'm not
even fit to untie who can fill in this information and perhaps point
you in other directions still.

I'm glad you enjoyed the recording.

--
The law moves quickly in the rain/and chokes the world with memorials./The
courts accept the lowest superstition/into evidence. And we embrace quickly in
the rain,/conceiving a hale infant with hands to wrinkle/the bedsheets toward
it, wave by trough by wave./Gregory Taylor/Heurikon /Madison, WI/608-828-3385
Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: HELP: music quiz
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Mon, 28 Dec 1992 22:15:05 GMT

In article <1992Dec22.150907.7760@linus.mitre.org>, rwilmer@carrier.mitre.org (R. Wilmer) writes:
>In article <1992Dec22.000824.18082@csis.dit.csiro.au> tsui@csis.dit.csiro.au (Kenneth Tsui) writes:

>>20. Which castrato:
>>    (a) sang the same song every evening to charm the King of Spain?
>
>I don't know, but I suppose the king's apparent short memory span was
>another example of Spanish Hapsburg feeblemindedness caused by inbreeding.

It was Carlo Broschi, better known as Farinelli.

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.
From: adolphso@mizar.usc.edu (adolphson)
Newsgroups: rec.music.classical
Subject: Re: male alti, counter-tenors, castrati, and so on
Date: 24 Dec 1992 00:33:09 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: mizar.usc.edu

In article <1992Dec23.150355.24969@jhunix.hcf.jhu.edu> 
velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:

>Related question: what did a castrato sound like: a soprano or a countertenor?

Neither.  They sounded like boy sopranos, but the voices were
powered by adult lungs.  Moreschi, the only castrato to have
made recordings, sounds quite unlike any other singer I've
ever heard.  In _The Record of Singing_, Michael Scott claims
that Luisa Tetrazzini had something of a castrato sound, and
Toscanini said that the young Ethel Merman sounded just like
the castrati in the Vatican choir he'd heard as a boy.

Arne
Newsgroups: rec.music.classical
From: cs748ab@maccs.mcmaster.ca (Andrew Fung)
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Organization: Department of Electrical and Computer Eng., McMaster University
Date: Thu, 24 Dec 1992 03:07:35 GMT

From: indira+@cs.cmu.edu (Indira Subramanian)
> (8) Rachmaninov   #1, #3 (haven't quite acquired a taste for them yet)
 
You must have missed a lot if you haven't heard Rachmaninov's Second.
 
Andrew Fung
Dept. of Electriacal &
Computer Engineering
McMaster University
Hamilton, Ontario, Canada
andrew@vision1.eng.mcmaster.ca
From: wikla@cs.Helsinki.FI (Arto Wikla)
Newsgroups: rec.music.classical
Subject: Re: favorite organ work
Date: 29 Dec 1992 10:33:05 +0200
Organization: University of Helsinki, Department of Computer Science
Distribution: world
NNTP-Posting-Host: hydra.helsinki.fi

JSB's Toccata & Fugue in F-major.

Arto Wikla, Helsinki, Finland

Newsgroups: rec.music.classical