HDTenEightyP/NetNews huggingface dataset:
From: chieu@pta.pyramid.com.au (Chieu Tran)
Subject: Re: Brahms
Organization: Pyramid Technology Corporation, Sydney
Date: Wed, 18 Nov 1992 22:08:38 GMT

ronthal-adam@yale.edu (Adam Ronthal) writes:

>My all time favorite Brahms piece is the Horn Trio.  In fact, this is one 
>of my favorite pieces of music in general.

Do you have any recommendations on this piece?  I have heard of the one
by Tuckwell, Perlman, Ashkenazy on Decca.

Thanks.

-- 
      -m-------  Chieu Tran                UUCP: pyramid!pta!chieu
    ---mmm-----  Pyramid Technology Corp.  INTERNET: chieu@pta.pyramid.com.au
  -----mmmmm---  403 Pacific Highway       VOICE: +61 2 901 5333
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Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: Other beautiful Brahms
Organization: University of Western Ontario
Date: Wed, 18 Nov 1992 23:11:55 GMT

Some gorgeous but little known Brahms are the pieces for Women's chorus, 
horn and harp (op. 17? somewhere down there). Etherially beautiful, 
especially the first one.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Considering 4'33''
Date: 18 Nov 1992 17:25:06 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Roger Lustig (roger@crux.Princeton.EDU) wrote:
: In article <1ea0j3INNfgf@MINERVA.CIS.YALE.EDU> ronthal-adam@yale.edu (Adam Ronthal) writes:
: >I think John Cage was a poser.  Go ahead, flame me, but you'll never 
: >convince me that he had any real talent.
: What was he posing *as*?  

Posing as John Cage, of course (very Zen, that).


Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Rachmaninoff
Organization: UCLA Mathematics Department
Date: Thu, 19 Nov 92 20:38:19 GMT

In article <0aJguB2w165w@student.business.uwo.ca> r4smith@student.business.uwo.ca (Richard Smith) writes:
>ugh, ugh, ugh.
>

Haydn/Mozart

UGH, UGH, UGH.

See, I can do it too.

--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: tangents Re: Considering 4'33''
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Tue, 17 Nov 1992 22:40:36 GMT

In article <1992Nov17.134830.17534@husc3.harvard.edu> elkies@ramanujan.harvard.edu (Noam Elkies) writes:
>In article <1992Nov17.160733.1518@Princeton.EDU>
>roger@astro.princeton.edu (Roger Lustig) writes:
>>[...]
>>Me, I *listen* to CDs; just seeing them does little for me.

>Questions re the aesthetic experience of looking at an LP or CD,
>and the difference between listening to a recording of 4'33" and
>looking at the recording medium for the same length of time, left
>as exercises for readers with nothing better to do. ;-)

What could be better than that?  8-)

>>     [...]  A CD holds as much as 80 minutes of music.  What's
>>one short piece more or less, even if you don't like it?  Would you buy
>>a CD of Rite of Spring plus Miraculous Mandarin plus 4'33"?  

>Oh, great --- now you'll have the Cage estate claiming copyright
>infringement on any CD with less than 75 minutes of music on it :-)

What happens when your LP of 4'33" starts to skip?

After the performance, does one applaud with one hand?

Roger
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: mozart/handel - messiah
Date: 21 Nov 92 22:53:58 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Nov21.210951.18576@msc.cornell.edu> tan@lynx.msc.cornell.edu.UUCP (David Tan,Box 219 Baker Lab,54810,2720402) writes:
>From article <92325.172728IO21145@MAINE.MAINE.EDU>, by <IO21145@MAINE.MAINE.EDU>:
>> I was wondering if anyone has ever seen references to a
>> revison of the "Messiah" by W.A. Mozart?

>It's really a "reorchestration."  The orchestral parts have been augmented,
>most obviously by adding clarinets (which did not, of course, exist in Handel's
>time) and French Horns. 

This does not, of course, explain Handel's Overture for Two Clarinets
and Horn, or the aria he wrote with clarinet obbligato in one of his
operas.  Clarinets were invented around 1700.

Mozart did more than add horns and clarinets (and flutes and bassoons).
He shortened "The trumpet shall sound", replaced another aria with a
recitative, and filled out the string textures, too.

Roger
From: hal@radio.wkar.msu.edu (Hal Prentice)
Newsgroups: rec.music.classical
Subject: Re: Tuba
Date: 18 Nov 92 20:33:29 GMT
Organization: Broadcasting Services, Michigan State University

In article <Bxv3uC.JBv@dcs.ed.ac.uk> la@dcs.ed.ac.uk (Lewis Alderton) writes:
>From: la@dcs.ed.ac.uk (Lewis Alderton)
>Subject: Tuba
>Date: 17 Nov 92 13:23:00 GMT
>Some wierdo composer wrote a Tuba concerto. Anybody know
>who he was and what he called it.
>(Anyone says "tubby the tuba" and I scream OK)
>-- 
>+--------------------------------------------------------------------+
>|                 |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                       |
>+--------------------------------------------------------------------+

His name was Ralph Vaughan Williams and he isn't a wierdo.

----------------------------------------------------------------------
Hal Prentice, FM Program Manager      Michigan State University
WKAR-FM, 283 Communication Arts Bldg  East Lansing, MI 48824-1212 USA
Internet: hal@radio.wkar.msu.edu      Bitnet: hal@radio.wkar.bitnet
----------------------------------------------------------------------
Newsgroups: rec.music.classical
From: pjh@mccc.edu (P. J. Holsberg)
Subject: Carmina Burana
Organization: The College on the Other Side of U. S. 1
Date: Mon, 16 Nov 1992 19:59:56 GMT

Any idea where I can get the English translation of Orff's "Carmina
Burana"?  Thanks.
From: nigelc@hpindda.cup.hp.com (Nigel Campbell)
Date: Wed, 18 Nov 1992 02:00:27 GMT
Subject: British Airways Ad. Music:
Organization: HP Information Networks, Cupertino, CA
Newsgroups: rec.music.classical


Hi,

Some time ago a request was made for information about the music used in 
the British Airways Ad.  Thanks to Bryan Higgins I was able to get the title
of the track and, for those interested, here's all the information I've 
found:

The Track is : Viens, Mallika Dome epais de jasmin (Flower Duet.Blumenduett)
	       (from "Lakme" by Delibes)
	       Singers      : Joan Sutherland (Lakme), Jane Berbie(Mallika)
	       Orchestre national de l'Opera de Monte-Carlo
	       Richard Bonynge
	       Recorded :1967
	       Time (6.03)

	       It can be found on CD : London 421 314-2 LA
				       Great Operatic Duets

I now have this CD and it is the actual track.           

Cheers,           

Nigel.

                   _
    ---------------+---------------
              ___ /^^[___              _ 
             /|^+----+   |#___________//      I'd Rather Be Flying !! 
           ( -+ |____|   _______-----+/    
            ==_________--             \
              ~_|___|__                  
  *************** __  ****************************************************
 *************   / /    ************ Nigel Campbell:  IND Cupertino       *
 ***********    / /        ********* email: nigelc@hpnmc.cup.hp.com       *
 *********     / /___ ______ ******************** DISCLAIMER **************
 ********     / __  // __  /  ****** This is not an official statement of *
 ********    / / / // /_/ /   ****** The Hewlett-Packard Company.  No     *
 *********  /_/ /_// ____/   ******* warranty is expressed or implied.    *
 **********       / /      ********* The information included herein is   *
 ************    / /     *********** not to be construed as a committment *
  ************* /_/ **************** on HP's part.                        *
				    **************************************
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Considering 4'33''
Date: 18 Nov 1992 14:38:33 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

haus der luge (al@sys6626.bison.mb.ca) wrote:
:  
: I believe that 4'33'' was intended to have several functions.
:  
and lots else besides. Good on him, making use of his freedom of
expression in this way.

A thought occurred to me at lunch-time: what is you favourite rendition
of 4'33". In order mine are

	1) A version by any heavy metal band
	2) A version by Yoko Ono, with implicit meaning, and intensity
	   of expression
	3) Conway Twitty sings John Cage
	4) The Orchestra of the c18, with all the intenstity of the
	   born-again musicologist. 4'33" on original instruments.
	   (Problem: high or low pitch?)
	5) Hooked on 4'33" - with a disco beat. Use as the filler to the
	   best of modern music between Kontakte and Plion 
	6) The one where Lady Thatcher reads the Gettysburg address.
	7) Steven Halpern plays New Age 4'33"
	
Any I've left out?
Newsgroups: rec.music.classical
From: pugh@pico.math.ucla.edu (David Pugh)
Subject: Re: Concert Review (was Re: tonality and modern music)
Organization: UCLA Mathematics Department
Date: Tue, 17 Nov 92 21:25:31 GMT

In article <1992Nov17.140932.22508@murdoch.acc.Virginia.EDU> rwd4f@poe.acc.Virginia.EDU (Rob Dobson) writes:
>
>[lotta stuff deleted]
>
>And finally, Beethoven's seventh. This work was absolutely wonderful. I
>guess Beethoven's symphonies are superclassics that I just never get jaded
>about. Beethoven is like a beautiful sunny day that also contains a
                            ^^^^^^^^^^^^^^^^^^^
>raging thunderstorm,
 ^^^^^^^^^^^^^^^^^^^

i.e. the Sixth (Pastoral) Symphony !!

>
>-Rob

David


--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
From: csstddm@brunel.ac.uk (David Martland)
Newsgroups: rec.music.classical
Subject: Re: Brahms Violin Concerto
Date: 20 Nov 92 17:32:21 GMT
Reply-To: csstddm@brunel.ac.uk
Organization: Noaksie's Bass Plum Control Factor

I'm having to use 2 news readers to deal with this one - the threaded one tin to
search for articles, and the unthreaded one, xvnews to deal with the followups.
Hohum! Technology at its best.

I agree with most of Francois Velde's summary, although I'm sorry that
David Oistrakh's version with Klemperer isn't listed. Maybe it's because it
was the first one I got to know well, but I still think it is very good.
A beautiful performance, and available cheaply. 

Yehudi Menuhin's performance with Furtwangler is
superb. I also have enjoyed the Grumiaux and the Krebbers versions for many years.

---
                       David Martland
                  Dept. of Computer Science
                      Brunel University
                       United Kingdom

                  David.Martland@brunel.ac.uk
                  Tel: 0895 - 274000 ext 2139
                  Fax: 0895 - 256186
 
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico (David G. Wong - VIP user)
Subject: Re: Musicians rubbishing composers !
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Fri, 20 Nov 1992 19:18:34 GMT

In article 15582@spang.Camosun.BC.CA, dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>In article <1992Nov14.192740.5063@math.ucla.edu> pugh@pico.math.ucla.edu (David Pugh) writes:
>>Okay folks, here is our new thread title. There appears to be some
>>interest in this so fire away !
>>
>>This can also include proposterous statements or events.
>>
>>Here are some that I know about.
>[....]
>> Some conductor (forgotten who) when asked if he had conducted any
>> Stockhausen, replied "No, but I've trodden in some"
>
>Attributed to Sir Thomas Beecham, but probably apocryphal.
>
>> Tschaikovsky's played his 1st piano concerto to a pianist (was it Von Bulow?)
>> who then said it was clumsy, unplayable, crude, ridiculous, etc. (well
>> words to that effect)
>
>Probably Anton Rubinstein.
>
so was Tschaikovski's violin concerto: when he dedicated the piece to Joachem,
the comment from the violinist was "beating the violin black and blue...".  Joachem
even refused to give the premier performance.  

BTW, anyone knows who, where, and when the first performance of Tschaikovski's
violin concerto was?
Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Why not a rec.music.contemp group?
Organization: Camex Inc., Boston MA
Date: Wed, 18 Nov 1992 14:19:00 EST

In article <1992Nov18.161723.12482@jhunix.hcf.jhu.edu>
velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:

>Why not indeed? After all, early-musickers have been segregated 
>into rec.music.early.  Am I the only one who has little interest
>in contemporary music (say, post-1945) ....

Is this a "get out of my newsgroup" suggestion?  The traffic isn't enormous
in this group.  Perhaps the interests of readers would be served by
splitting, but not of this reader.  I appreciate the dialogue, and at times
the debate.  I was sorry to see rec.music.early split, because I only read
r.m.c.  I'd be even sorrier to lose the writing of Todd McComb, Gregory
Taylor and folks like them.

The Cage thread has started back up again, and it's just as stale and old
and corny as the last time.  I expect it to get worse before it gets
better.  But in general, I find the diversity of musical passions here
enlightening.

By the way, I read at work (high speed line) and at home (2400 baud).  For
those who have only high class high end computers to read news from, you
haven't lived until you've suffered through countless articles of no
interest in which the writer quotes 200 or 300 lines and then adds "Me too"
at the end.  Francois, do your comments have something to do with your
technology, by chance?

Chris Ischay
chrisi@camex.com
From: pugh@pico.math.ucla.edu (David Pugh)
Newsgroups: rec.music.classical
Subject: Re: humming Stockhausen
Date: 22 Nov 92 00:50:54 GMT
Organization: UCLA Mathematics Department

In article <RZekuB3w165w@student.business.uwo.ca> r4smith@student.business.uwo.ca (Richard Smith) writes:
>Hey, I hum Stockhausen all the time. Listen to "Tierkreis" some 
>time--those tunes are worse to get out of our head than even Country 
>Garden!
>
>I also happen to think that Gesang der Junglinge is one of the giant 
>works of Western music. I often have that running through my head. It 
>beats accounting classes.
>
I must admit I don't know much Stockhausen. I rather liked Stimmung. The
stuff I know are the piano pieces which I think were called Piano Pieces I,II
etc and I don't remember anything hummable in them.

How is Karlheinz doing with his day of the week operas?

--
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
   David Pugh,  UCLA,  CA         |     Hot Dog, Jumping Frog
   pugh@math.ucla.edu             |     Albuquerque  -  Prefab Sprout
|-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: tonality and modern music
Date: 19 Nov 1992 15:47:25 -0800
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <1992Nov19.014038.27593@credence.com> jeffw@or.credence.com (Jeff Winslow) writes:
>In article <1e9hloINN4c6@calvin.usc.edu> alves@calvin.usc.edu (William Alves) writes:
>>I don't think it's primarily the dissonance, lack of conventional melody,
>>or even the atonality that stands in most people's way - it's the fact
>>that for many composers processes have become the expression instead of
>>the means to expression.

>Do you mean to say that the substructure bothers people more than the
>immediately audible surface details?  Isn't this getting rather mystical
>and counter-intuitive?

No, I don't mean that exactly, but consider this: there are plenty of
dissonant pieces that are great audience pleasers. Heck, the amount of
dissonance in a piece by Bach is truly astonishing for those who haven't
really analyzed the note-to-note counterpoint. Thus when people say they
don't like something because it's "dissonant," I am suspicious.

I think that the difference between the dissonance in Bach and Schoenberg
is not so much quantitative as we tend to assume, but rather that people
more easily hear the logic, the processes, and the composer's voice in the
music of Bach. Twelve-tone rows are almost always inaudible, at least to
me; not to say that they are meant to be as audible as a fugue subject,
just that the twelve-tone method is a process to get a particular effect.
Many of the composers of the post-Webern school I think took this and
related processes to the point that the processes themselves became the
piece, rather than a tool towards expression.

Likewise, there's plenty of melody in Stockhausen, for example, so why do
people accuse his music of having "no melody"? Not because there is no
melody, but because they cannot perceive the logic of it -- the logic may
have been buried beneath all sorts of quasi-serial processes.

You may consider processes a "substructure," but I think that it is the
logic, the play on expectations, and cultural resonance which a listener
primarily perceives, even more than "surface details."

Bill Alves
Newsgroups: rec.music.classical
From: brea9430@mach1.wlu.ca (breadner kenneth cecil joseph u)
Subject: Re: Euphoniums (was: Tubas)
Organization: Wilfrid Laurier University
Date: Fri, 20 Nov 1992 02:41:32 GMT

In article <JIM.92Nov18142319@fuji.eng.yale.edu> jim@fuji.eng.yale.edu (James J. Szinger) writes:
>In article <1992Nov17.195409.9578@magnus.acs.ohio-state.edu>
>mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis) writes:
>
>>Since "euphonium" is an English word made up of a Greek root + and English 
>>ending (according to my Webster's), rather than a foreign import like datum/a,
>>the plural is euphoniums.  I hope that everyone can now rest at ease for the 
>>remainder of the day.
>
>I still think that 'euphonia' is more euphemistic.  By the way,
>what the plural of 'tuba'?  'Tubae'?

Yup. The Romans used that plural--along with 'cornua' and something else I
can't recall--started with a 'b'. Think it was 'buccinae'. They were their
three types of brass instruments. Of course, they bore (bad pun!) no
resemblance to the brass of today...

-- 
Ken Breadner          |Wilfrid Laurier University, Waterloo, Canada
brea9430@mach1.wlu.ca |"Life is what happens when you're busy making other
(the BREADbox...)     |plans" --John Lennon
Disclaimer: you mean somebody's taking something I said SERIOUSLY?
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Re: Tuba
Date: 19 Nov 92 17:09:28 GMT
Article-I.D.: husc3.1992Nov19.120929.17607
Organization: Harvard Math Department

In article <1992Nov18.223647.4296@osf.org>
dbrooks@osf.org (David Brooks) writes:

>As well as that well-known weirdo RVW (he *could* be a little strange at
>times), Derek Bourgeois has written a Bass-tuba concerto.  John White wrote
>a symphony for organ and 6 tubas (I don't know if the organ part called for
>the Tuba stop) and Walter Hartman wrote a Tuba sonata, op. 76.

...as did Hindemith (but then it seems that Hindemith wrote a sonata
for X and piano for almost every instrument X).

>I'm surprised there aren't more; the tuba is a surprisingly agile and
>melodious instrument.  See, for example, the development section of the
>Meistersinger overture.

Perhaps the reason is not any deficieny of the instrument but 
the scarcity of performance opportunities.  When was the last
time you heard a solo tuba recital?

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.classical
From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
Subject: Brahms Horn Trio
Organization: The Ohio State University
Date: Thu, 19 Nov 1992 00:37:14 GMT

The ONE recording for me is a "live" BBC recording by Dennis Brain, with Max
Salpeter (violin) and Cyril Preedy (piano).  I have it on an Everest LP 3432.
The performance is from February 15, 1957.  Also on the album are the Mozart 
Horn Quintet in Eb K.407 (with the Carter String Trio and Eileen Grainger, 
viola) and Brain's traditional encore piece, Marin Marais's Le Basque (with 
Wilfred Parry, piano).  This last is an absolute gas!!!!
-- 
*>   Michael J. Valinis   -=+<*>+=-   mvalinis@magnus.acs.ohio-state.edu   <*
*>=>  "Music is your own experience, your thoughts, your wisdom. If you  <=<*
*>+>=> don't live it, it won't come out of your horn." -Charlie Parker <=<+<*
*>=>+>=>+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+<=<+<=<*
Newsgroups: rec.music.classical
From: rons@ellis.uchicago.edu (Josh Ronsen)
Subject: Re: Considering 4'33''
Reply-To: rons@midway.uchicago.edu
Organization: University of Chicago Computing Organizations
Date: Wed, 18 Nov 1992 17:53:21 GMT

In article <wV9BuB1w165w@sys6626.bison.mb.ca> al@sys6626.bison.mb.ca (haus der luge) writes:
> 
>I believe that 4'33'' was intended to have several functions.
> 
>The primary motive behind the piece was to 'frame' a period of time in 
>which the listener may become aware of outside sounds.  

	I thought that the "primary" motive for Cage to write this
piece was to write a piece of music completely free of (his)
intention. This was his motivation for getting involved with chance
operations. I have read Cage remark that 4'33" is his favorite piece
of his, because anybody could have written it, and although it is a
piece that defines Cage, there is very little of Cage in it.

	Although, of course, the presentation of sounds "outside" the
score was a major idea behind the piece.

	I have a taped lecture of Cage at Harvard in 1990 I think
where he is talking about his writing of the piece and how he pieced
together little sections of silence as dictated from the I Ching. He
remarks "It sounds idiotic, but that's what I did."

	Regards,

	Josh Ronsen
	rons@midway.uchicago.edu

Newsgroups: rec.music.classical
From: ssc@nwu.edu (Steven Chung)
Subject: Re: The worst composer ever
Originator: schung@casbah.acns.nwu.edu
Organization: Northwestern University, Evanston Illinois.
Date: Mon, 23 Nov 1992 06:04:12 GMT

In article <2B10312C.807@news.service.uci.edu> jdooley@maemaster.eng.uci.edu (John R. Dooley) writes:
# 
# PostScript:  Of course, there are no bad composers - 
#              just misunderstood composers.
# 

Perhaps there are composers one would not wish to understand?
Newsgroups: rec.music.classical
Subject: Question re. new Messian set on Erato
From: <MHUGHES@MIAMIU.BITNET>
Date: Tuesday, 17 Nov 1992 11:13:25 EST
Organization: Miami University - Academic Computer Service

Are the discs in the new Erato Messiaen edition available separately?
 
Mike Hughes
Newsgroups: rec.music.classical