HDTenEightyP/NetNews huggingface dataset:
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re: Brendel and Szeryng play Schoenberg and Berg
Organization: MIND LINK! - British Columbia, Canada
Date: Mon, 4 Jan 1993 02:12:50 GMT

> Dale Atems writes:
>
> The other day I ran across a recording of the Schoenberg Piano and
> Violin Concerti and the Berg Violin Concerto. The soloists were Brendel
> and Szeryng, I don't recall the orchestra or conductor. It was on DG.
> Does anyone know these performances? Any opinions would be appreciated.
>


I used to own the Szeryng Berg VC many years ago, I think it was pretty good.
The Schoenberg stuff used to be on DGG 2530 257, the violinist in the
Schoenberg VC is Zvi Zeitlin. Both good performances. What competition is
there for the Schoenberg? I think there is an album on Erato of Boulez
conducting with Peter Serkin and Pierre Amoyal, but I've never seen it in
Canada. I await Gould's recording of the Schoenberg as part of the Gould
Edition (it was originally coupled with a Mozart piano concerto!), and
wouldn't mind if RCA reissued Peter Serkin and Ozawa doing it as well.

Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: Re: Ozawa
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Mon, 28 Dec 1992 18:41:14 GMT

In article <1992Dec25.043537.19480@nosc.mil> sampson@nosc.mil (Charles H. Sampson) writes:

[stuff deleted]

>
>     Another respondent said that he did well by Carmina Burana.  Per-
>haps Ozawa's Carmina is good, but I happen to prefer Orff's.
>
>					Charlie
>


What I said was that Ozawa tended to do his best work in the large
choral-orchestral extravaganzas, such as _Carmina Burana_. At no time
did I suggest that his recording(s) of _Carmina_ are the *best* (though
others, not necessarily r.m.c. contributors, have).

Of Ozawa recordings I have heard, I like his Mahler 1st (the 1977 DG
recording) and 8th, and also his 1970-vintage _Petrouchka_. Others I
have heard, including the Ravel cycle mentioned by Mr. Sampson, are
at the mediocre/acceptable level, and better performances are easy to
find.

The same, however, can be said of many of today's prominent conductors.
Very little of, say, Abbado's work is really exceptional.


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: atems@igor.physics.wayne.edu (Dale Atems)
Subject: Re: RFV: BRUCKNER RE: THE BEST
Organization: Wayne State University, Detroit, MI
Date: Sun, 27 Dec 1992 21:39:34 GMT

I wasn't going to get involved in this one, but the eggnog has gone to my
brain. So, FWIW, here is my personal, totally biased rundown of Bruckner's
symphonies, one by one, complete with letter grades:
 
Schul:  Never heard it. Grade: ?
 
#0:     Ditto. Grade: ?
 
#1:     A fine early effort. Good energy and sweep in the finale. Grade: A-.
 
#2:     Shows progress. A fine opening movement and andante. If there's a
        point to running twice through the build-up in the finale's coda,
        I'm missing it. Grade: B.
 
#3:     Pure genius, if a bit rough around the edges. Grade: A.
 
#4:     Schubert has done this better, and I'm no big fan of Schubert. What
        happened, Anton, did you lose your way?  Grade: D.
 
#5:     No overall grade here. A for Architecture, E for Expressive content
        (I can't hear any).
 
#6:     Tightly knit, original, shows real development. Slow movement has
        weak spots but is very moving. The first movement has too much
        bombast for my taste. Grade: B+.
 
#7:     Fine inner movements, weak outer movements. (Yes, D.B., I love that
        opening melody too...)  Grade: C+.
 
#8:     No complaints here. A masterpiece from start to finish. (Maybe two,
        if you count the Nowak and Haas editions separately :-). Grade: A+.
 
#9:     Might have turned out even better than #8. Too bad we'll never know.
        Grade: I'd love to give this one an A, but I'm trying to be *objective*
        here, folks, so it's... you guessed it, an I.
 
 
There you have it. Now while I'm looking for my asbestos suit, could someone
please tell me which side I'm on?  :-)

------
Dale Atems
Wayne State University, Detroit, MI
Department of Physics and Astronomy
atems@igor.physics.wayne.edu
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Saxophone, use of -
Date: 23 Dec 1992 15:06:02 GMT
Organization: University of Houston
Reply-To: chem91@Elroy.UH.EDU
NNTP-Posting-Host: elroy.uh.edu

>Whole *sheetloads* of Michael Nyman, mon.
>
>Also see a recommendation for John Harle and the Bournemouth Sinfonia
                                                  ^^^^^^^^^^^^^^^^^^^^
>that I put in in a Paul Lansky followup that was a part of my personal
>"best of the year" list. No way I'm going to type it in again....
>
>--
>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


Seconded...   Especially as the Bournemouth Sinfonia/Symphony used to be my
home-town orchestra.  Three attractive, "approachable" pieces, all written
in the last 10(?) years for sax and orchestra...

Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: Saxophone, use of -
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 22 Dec 92 19:40:45 GMT

In article <1992Dec22.174505.9461@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>There is a substantial body of music for saxophone(s) written by a number
>of French composers. 
>

Milhaud's "la creation du monde" has a very prominent role for the
saxaphone.

John D.


Newsgroups: rec.music.classical
From: Martin B. Wolk <mbwolk@mmm.com>
Subject: Re: RFV: BRUCKNER RE: THE BEST
X-UserAgent: Nuntius v1.1.1d16
X-XXMessage-ID: <A765C0A7DC020B26@wolk.mmm.com>
Organization: 3M
Date: Tue, 29 Dec 92 14:47:35 GMT
X-XXDate: Tue, 29 Dec 92 08:45:27 GMT

In article <725438140.1@nwark.FidoNet> Frank Panettiere,
Frank.Panettiere@f2010.n391.z1.FidoNet.Org writes:
>Let's see.  If now two of us on this net don't "hate" his music and 99%
DO,
>then there will have to be 198 votes on the "other side".  I'm waiting to
>see that extensive list!   

Count me in with all of the other Bruckner lovers.  The fourth is a
particular favorite of mine.  It is the perfect balance of simplicity and
power.
Organization: University of Illinois at Chicago
Date: Tuesday, 29 Dec 1992 14:25:42 CST
From: <U58402@uicvm.uic.edu>
Newsgroups: rec.music.classical
Subject: Re: CD prices

In article <1992Dec24.191243.9008@jhunix.hcf.jhu.edu>, velde2@jhunix.hcf.jhu.edu
(Francois Velde) says:

 [analyses of CD prices as cost/minute plying time snipped]

>Now: his figure for LPs is 20 cents/mn, yours is 900/47.5=19 cents/mn, close
>enough.  What about inflation? As it turns out, the Consumer Price Index
>inflation from the 1982 average to November 1992 is 47% : so 19 cents
>are worth 28 cents now; which works out to $21 for a 75mn CD. I think his
>point is taken. If you want to compare to a 60mn CD, you find that such a
>CD would cost $16.75 if it were at the same $/mn price as LPs were: which
>tells us that today's CDs give us more music for the buck ($16.75 being the
>close to the upper bound on CD prices in the US).


These sorts of analyses are very interesting, but I think that from the
standpoint of the consumer, this is the wrong index to use. What we
probably should be looking at is cost/minute of listening time we will
devote to out new purchase. For example: I buy two discs: one is a
budget priced edition of the Beethoven Piano Concertos, the other is
Dawn Upshaw's "Girl With Orange Lips". The budget beethoven is a three
disc set, about 200 minutes of music for say $22, but it really sucks. I
listen to it once and put it away. The Dawn Upshaw disc is about 50
minutes, runs $15 (I didn't wait for the storewide sale), but I have
happily listened to the disc ten times so far, and show no signs of
shelving it. The budget Beethoven gave me 200 minutes of mediocre
entertainment for $22, while the Upshaw gave me 500 minutes of first
rate entertainment for $15. Now, which is the better deal?

Now that I have finished this brilliant gedanken experiment :@) I
realize that this actually supports the raising of CD prices. Nope. $21/disc
is still too expensive for me.


Wilbur Pan                                  u58402@uicvm.uic.edu
----------------------------------------------------------------
This article does not represent the opinions of the Deans of the
College of Medicine of the University of Illinois at Chicago.
They're not that clever.
Newsgroups: rec.music.classical
From: velde2@jhunix.hcf.jhu.edu (Francois Velde)
Subject: Re: cd prices
Organization: HAC - Johns Hopkins University, Baltimore
Distribution: rec
Date: Thu, 31 Dec 1992 17:44:43 GMT

In article <1992Dec28.4216.26223@dosgate> "alexander inglis" <alexander.inglis@canrem.com> writes:
>
>FV>*** warning *** warning *** warning ***
>
>FV>The author is an economist. Proceed at your own risk.
>
>  >Date: Thu, 24 Dec 1992 19:12:43 GMT
                                    ^^^
>
>THIS is how you spent Christmas Eve?!?

That was GMT, I am on EST.  At that time EST, Christmas Eve, I was fighting
a struggle to the death with a 2 lb lobster.

The lobster lost :-)  Recipe available upon request :-)

-- 

	Francois Velde
From: rlk@underprize.think.com (Robert Krawitz)
Newsgroups: rec.music.classical
Subject: Re: Beginning a classical collection
Date: 28 Dec 92 12:14:29
Organization: Thinking Machines Corporation, Cambridge Mass., USA
	<BzzA2u.A7K@nic.umass.edu>
NNTP-Posting-Host: underprize.think.com
In-reply-to: urena@titan.ucc.umass.edu's message of Mon, 28 Dec 1992 16:35:17 GMT

In article <BzzA2u.A7K@nic.umass.edu> urena@titan.ucc.umass.edu (Richard Urena) writes:

   >Thanks.  As a side note, I was recently listening to The Planets by 
   >Holst.  Strangely enough, as much as I liked "Mars", I thought the 
   >remainder of the CD in its entirety was boring.  I am in my early 
   >20s, and seem to go for involved peices (I also like hard rock and metal).
   >
   >Any recommendations for my tastes?

   Check out the Symphonie Fantastique by Berlioz, the Organ Symphony
   (No. 3, I think) by Saint-Saens; and of course that perennial favorite,
   Carmina Burana by Carl Orff.

Add to that Beethoven symphonies (3, 5, 7, and 9 might do very nicely).
Tchaikovsky wrote a number of "noisy ceremonial pieces" (as I saw them
once described) other than the 1812; Marche Slav and Capriccio Italien
come to mind.  And various Mozart and Haydn symphonies.  Then there's
Ride of the Valkyries (often available with other excerpts from The
Ring).  And while most rock isn't exactly dissonant, harmonically
speaking, you might try some 20th century music (Bartok appeals to one
friend of mine who mostly listens to rock and jazz); the dissonance
gives it a bit of a hard edge that you might -- or might not -- care
for.

It takes a while to make that transition, so be patient and keep
listening.
--
ames >>>>>>>>>  |	Robert Krawitz <rlk@think.com>	245 First St.
bloom-beacon >  |think!rlk				Cambridge, MA  02142
harvard >>>>>>  .	Thinking Machines Corp.		(617)234-2116

Member of the League for Programming Freedom -- write lpf@uunet.uu.net
Newsgroups: rec.music.classical
From: gustavo@dent.uchicago.edu (Gustavo Comezana)
Subject: Re: CD prices
Organization: Dept. of Mathematics, U. of Chicago
Date: Tue, 29 Dec 1992 22:03:04 GMT

In article <1992Dec29.212757.21836@midway.uchicago.edu> gustavo@dent.uchicago.edu (Gustavo Comezana) writes:
>In article <92364.142542U58402@uicvm.uic.edu> <U58402@uicvm.uic.edu> writes:
>>These sorts of analyses are very interesting, but I think that from the
>>standpoint of the consumer, this is the wrong index to use. What we
>>probably should be looking at is cost/minute of listening time we will
>>devote to out new purchase. For example: I buy two discs: one is a
>>budget priced edition of the Beethoven Piano Concertos, the other is
>>Dawn Upshaw's "Girl With Orange Lips". The budget beethoven is a three
>>disc set, about 200 minutes of music for say $22, but it really sucks. I
>>listen to it once and put it away. The Dawn Upshaw disc is about 50
>>minutes, runs $15 (I didn't wait for the storewide sale), but I have
>>happily listened to the disc ten times so far, and show no signs of
>>shelving it. The budget Beethoven gave me 200 minutes of mediocre
>>entertainment for $22, while the Upshaw gave me 500 minutes of first
>>rate entertainment for $15. Now, which is the better deal?
>>
>>Now that I have finished this brilliant gedanken experiment :@) I
>>realize that this actually supports the raising of CD prices. Nope. $21/disc
>>is still too expensive for me.
>
>Let me supply you with an example that really works: take Kertesz' set
>of Dvorak Symphonies (with shorter orchestral pieces thrown in for
>good measure), on 6 budget London discs, which is a total delight for
>both the ears and the wallet. If you play the set only four times, it
>will give you about 1600 minutes of top-notch music in excellent sound
>for a measly $42 (or less), that is, less than $0.27 a minute. As for
                                                 ^^^^

Sorry guys, I meant $0.027 ($0.27 would have been terribly expensive!)


>a full-priced disc for comparison, take your pick: the current
>catalogue is surely not lacking in lousy, expensive cd's that nobody
>would willingly suffer through more than once ;-).
From: xilin@northstar.dartmouth.edu
Newsgroups: rec.music.classical
Subject: Re: beethoven late string qua
Date: 2 Jan 93 16:56:00 GMT
Distribution: rec
Organization: Project NORTHSTAR, Dartmouth College, Hanover, NH


What about the set by Julliard Quartet?
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: shostakovich/Mravinsky was Re: Shostakovich symphony recommendations
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Wed, 30 Dec 1992 19:12:29 GMT

apter@fid.morgan.com (Steve Apter) writes:
: In article <1992Dec23.173727.10266@fid.morgan.com> apter@fid.morgan.com (Steve Apter) writes:
: >In article <1992Dec22.014154.25017@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
: >
: >Shostakovich/Leningrad Symphony Orchestra/Mravinsky:
: 	      ^^^^^^^^^^^^^^^^^^^^^^^^^^^^
: >
: 
: Who they are, I do not know.  That should read "Leningrad Philharmonic 
: Orchestra".

Dammit, you're right of course.

I picked up the Mravinsky Shostakovich 12 on Boxing Day. I'm still not
completely convinced that it is music, but this is a more convincing
reading than others I've heard.

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
Subject: Re: favorite organ work
From: sowhat@gphs.vuw.ac.nz (Christian Zick)
Date: Tue, 29 Dec 1992 21:59:22 GMT
Organization: Institute of Geophysics, Victoria University of Wellington, NZ

I give, after long hesitation, my vote to

   Widor, Organ Symphony No.10, played by Pierre Cochereau, Notre Dame, Paris.

My organ records background for this vote is:
J.S.Bach        "complete" organ music
Tournemire      lots of ...
Widor           "complete ...
Buxtehude       "complete ...
Messiaen        complete
J.Alain         complete
Vierne          "complete ...
Liszt           "complete ...
Langlais        lots of ...
C.Franck        "complete ...
many others of roughly this spectrum ....

Christian Zick@gphs.vuw.ac.nz
Newsgroups: rec.music.classical
From: sampson@nosc.mil (Charles H. Sampson)
Subject: Re: Ozawa
Organization: Computer Sciences Corporation
Date: Fri, 25 Dec 1992 04:35:37 GMT

In article <1992Dec23.161244.16251@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>
>In article <1992Dec22.211008.4569@nosc.mil>, sampson@nosc.mil (me) writes:
>|>      In a recent thread on Greatest Living Conductors, one respondent
>|> placed Ozawa near the very bottom of his list.  I have to agree.  I
>|> never cease to be amazed at the breadth of styles that he manages to
>|> mangle.  Yet he continues on, conducting all over the world.  Clearly
>|> there are some Ozawa fans out there.  What kind of music does he do
>|> well?  Are there any particular recordings that show his "talent" in
>|> a favorable light?
>|> 
>Yes. All of them. 
>
>I suppose there are a few famous conductors who have "mangled" a piece
>at one time or another, but as far I'm concerned, Ozawa is not one of 
>them. However, rather than dismiss your critique out of hand, could you
>provide, in your estimation, a particularly egregious example of Ozawa's
>"mangling", and explain in what way you think he mangles it?
>
>Enquiring minds want to know.
>
>- BK

     The worst example I know of is his recording of Ravel's complete
orchestral music, with the BSO.  Not one of those pieces has any shape
in these performances.  Every one is simply an uninspired run-through
of the printed notes.  How it is possible to make such works as Bolero,
La Valse, and the Valses Nobles et Sentimentales dull is beyond me,
but he managed to do it.

     Another respondent said that he did well by Carmina Burana.  Per-
haps Ozawa's Carmina is good, but I happen to prefer Orff's.  I have
his CD of this work with the Berlin.  In it he ignores Orff's markings
whenever he wants.  (Specific example later.)  The only saving grace is
the outstanding soloists.  Once again, there is no shape, to either the
entire work or any of the individual pieces.  Furthermore, it's not at
all clear that he understands -- or cares about -- the text.  In one of
the early pieces Orff gives a tempo marking of 120-132, actually giving
the conductor some leeway rather than specifying a single correct
tempo.  Ozawa takes it at 154!  While it's not reasonable to expect
human beings to be as accurate as metronomes, that's not even close.
That tempo destroys the mood of the text, and the whole piece just
sounds rushed.  (It also happens to be beyond the ablilty of his cho-
rus, which might explain why it sounds rushed.)

					Charlie

From: zornow@hpcc01.corp.hp.com (Claudia Zornow)
Date: Tue, 22 Dec 1992 23:32:28 GMT
Subject: Re: Saxophone, use of -
Organization: HP SSD R & D
Newsgroups: rec.music.classical

Classical works using saxophone:

> Britten: Sinfonia da Requiem, Billy Budd
> Ravel: Bolro, as well as the Pictures already mentioned
> Bizet: seemed to like the sax, especially L'Arlsienne
> Vaughan Williams: Symphony #8 (a full set of 3)
> Bernstein: several, nice solo in On The Town
> Walton: Faade (small chamber group)

> And works like Rhapsody in Blue (the small-orchestra version), and
> probably numerous "modern" pieces.

Also Gershwin: An American in Paris
     Prokofiev:  Romeo and Juliet

Claudia
Newsgroups: rec.music.classical
From: jpino@dcc.uchile.cl (Jose A. Pino)
Subject: Ofertas en Apumanque
Originator: jpino@dcc.uchile.cl
Date: Wed, 23 Dec 1992 14:24:36 GMT
Distribution: stgo
Organization: Universidad de Chile, Depto. de Ciencias de la Computacion

Debido a la reapertura del Apumanque despues del incendio, hay algunas ofertas 
que pueden ser interesantes.

Mi hijo me comento que en un sector donde esta el correo hay discos de opera
(de la Feria del Disco) que resultaron mojados y que se venden con 30% de
descuento. No pude validar esa informacion.

Lo que si comprobe, pues compre uno, es que en el local Colt 70, se ofrecen
los dicos de Pavarotti en Decca a $3.900 cada uno (impecables).

Jose A. Pino
From: dnewcomb@whale.st.usm.edu (Donald R. Newcomb)
Newsgroups: rec.music.classical
Subject: Joseph Jongen or Longen? Dumb question.
Keywords: Organ Orchastra Symphony Telarc CD
Date: 4 Jan 93 04:28:39 GMT
Organization: University of Southern Mississippi
Originator: dnewcomb@whale.st.usm.edu

I recently picked up a CD of a Symphony for Organ and Orchestra
(Telarc CD-80096) in which the composer's last name is spelled
both "Longen" and "Jongen". I hope that Telarc is suitably
embarrassed by this but I still don't know his true name. Would
someone please help me out with this unfamiliar composer's name?
Please reply by email. I can't ever catch up with this group.
Thanks.
-- 

Donald R. Newcomb                * Life only admits two states: 
dnewcomb@whale.st.usm.edu        * growing and dying. So what,
newcomb@usmcp6.bitnet            * if I've put on a little weight?
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Beginning a classical collection
Organization: Morgan Stanley & Co., New York, NY
Date: Wed, 30 Dec 1992 22:47:49 GMT

In article <1992Dec30.221729.3597@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1992Dec30.205134.23099@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>>You're in luck!  There's a book called "Who's Afraid of Classical Music,"
>>by Michael Walsh.  Even though it's a *little* pandering at times, it's
>>a good book over all, and he recommends conductors, performers and recordings.
>>His taste is quite good, IMHO.
>
>Yexch.  I'd rather listen to three hours of uninterrupted Melanie or
 ^^^^^
Is this Mayan for "yuck"?
 
>something.  Yes, he panders -- all over  the place.  Opera is just 
>sex and violence and titters, composer trivia replaces any discussion
>of who these people were and why they wrote the music they did and
>why people listened to it so intently, and on and on.  The book
>trivializes classical music, and it's laden with errors, besides.
>
>Roger
>


I've recommended it before -- how about David Hurwitz' "Beethoven or Bust"?
Lousy title, yexchy cover, but well-written, enthusiastic, with equal parts
assistance in theory, history, and assembling a record collection.

He likes Bruckner, too.

And he's a *banker*.
From: HMUSAMWS@admin.uh.edu (SUMBERA, MICHEAL W.)
Newsgroups: rec.music.classical
Subject: Re: SURVEY: FAVORITE PIANO CONCERTO
Date: 21 Dec 1992 14:46:38 GMT
Organization: University of Houston Administrative Computing
Distribution: world
NNTP-Posting-Host: uhad7.admin.uh.edu
X-News-Reader: VMS NEWS 1.20

This is probably going to be one odd-ball for this survey, but...

Favorite: Barber Piano Concerto
Favorite Beethoven: #4

MWS
hmusamws@admin.uh.edu
Down in the basement, we hear the sound of machines.

Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: Favourite Organ Work Survey
Organization: Helsinki University of Technology, Finland
Date: 29 Dec 92 21:27:42

In article <Bzr24E.ApJ@CAM.ORG> yedid@CAM.ORG (Gabriel Yedid) writes:

	I notice there are a lot of these "favourite" surveys cropping
>up.  Figure I may as well start one of my own.  My question to you all
>is:  What is your favourite organ work, that is, if you have one?  Even
>among my friends that do enjoy classical, there are still a great many
>who think that the organ's sole reason for existing is to satisfy 
>ecclesiastical needs.  True, it does this very well (depending on 
>which church), but it is a limited and narrow viewpoint, and doesn't 
>take into account the large volume of non-religious work out there.  I'm
>interested in hearing from you.

  The choice is very, very difficult, I have so many of them. They
  are all by Bach:
  Passacaglia & Fugue in c
  Prelude and Fugue in b
  Choral prelude "Schmuecke dich, o liebe Seele"
  Choral prelude "Wo soll ich fliehen hin" (2nd in the Schuebler chorales)

  All these I could listen several times a day.
--
!
!	Jyrki Wahlstedt
!		Jyrki.Wahlstedt@hut.fi
!
!  Our life is no dream, but it should and will perhaps become one.
!
Newsgroups: rec.music.classical