HDTenEightyP/NetNews huggingface dataset:
From: raj@bigbird.bu.edu (rajagopalan)
Newsgroups: rec.music.indian.classical
Subject: Re: RTP, Anulomam, Pratilomam, Vilomam
Keywords: pallavis, karnatic
Date: 27 Dec 92 16:35:51 GMT
Followup-To: <1992Dec26.135232.603@wsuhub.uc.twsu.edu>
Organization: Boston University Computer Science Department

In article <1992Dec26.135232.603@wsuhub.uc.twsu.edu> sriram@wsuhub.uc.twsu.edu writes:
>I have been confused by some recent postings of the fundas of RTP.
>The specific issue is what is pratilomam and what is anulomam. As
>per Prof. Sambamurthy, anulomam is retaining the taalam at the same
>speed and changing the pace of the music to faster speeds (like
>double speed). Pratilomam is the converse, i.e., singing at the 
>same speed and reckoning the taalam at double speed etc.

	i must be confusing anulomam and pratilomam in my mind. thanks for
pointing it out and my apologies for the error.

>IF the pallavi is not of sama eduppu, THEN preference should be given to
>retaining the arudi rather than the eduppu during these exercises. Of course,
>due to the change in speed, the only control over this is at the point
>where the speed is switched over. Thus, one has to change speeds not
>at the beginning of the pallavi but at the arudi point.

	personally, i have never heard, for example, a tisra gati anulomam 
starting at the aruthi but then i was not noticing whether in those cases the
eduppu was samam or not. however i find this rule a little awkward. consider 
the popular pallavis that have a non-sama eduppu. usually after the aruthi 
there is a silence gap (usually to give the singer a chance to breathe) after
which the second half of the pallavi changes the off-beat nature of the first
half. for example, if the words of the first half were predominantly on the
half-beat the second half might be on the quarter-beat or vice-versa. of course,
this is only an example and not a rule. 

	in any case, the gap after the aruthi can be a little awkward (but not
impossible) if the anulomam keeps the aruthi constant. but i just realized it
makes the calculations a bit easier.

	sriram, does the professor say anything about the rule that the aruthi
must occur ON the beat (at some intermediate point of the talam)? does this hold
also for sama eduppu pallavis?

	thanks for posting the corrections and clarifications.

	cheers
        -raj
From: mitra@oct17.dfe.dec.com (JoyDeep Mitra)
Newsgroups: rec.music.indian.classical
Subject: SITAR CLASSES IN THE BAY AREA (CA)
Keywords: Sitar, North Indian Classical Music, Ustad Habib Khan
Date: 22 Dec 92 22:30:17 GMT
Followup-To: mitra@dfe.dec.com
Organization: Digital Equipment Corporation - Santa Clara, CA


			SITAR CLASSES IN THE
			BAY AREA, TAUGHT BY
			USTAD HABIB KHAN.

Sitar classes are now being offered both in the North and South Bay areas
by Ustad Habib Khan. Ustad Habib Khan hails from the Indore Gharana and
has been playing sitar for over 30 years. Apart from being an excellent
performer, he is also a very good teacher. Ustad Habib Khan's style of
playing combines the best aspects of both the "Gayaki" (vocal) and the
instrumental styles. Ustad Habib Khan has been initiated into the art of
playing the sitar by his illustrious Father, Ustad Abdul Hameed Jaffer Khan,
brother of the well known sitar maestro Ustad Abdul Halim Jaffer Khan.

Classes will be held at the following locations:

Fremont Hindu Temple and Cultural Centre
3676 Delaware Drive
Fremont, CA 94538
Phone: (415)659-0655

Ustad Habib Khan's residence at Concord, CA.

Both group as well as individual classes are available.
For more information on the classes, contact the following numbers:

(510)685-0786
(408)261-0203

--Joydeep Mitra
From: ez004583@ALCOR.UCDAVIS.EDU (Hemant Varma)
Newsgroups: rec.music.indian.classical
Subject: Sitar Lessons offered in Davis California
Date: 22 Dec 92 01:11:27 GMT
Reply-To: ez004583@ALCOR.UCDAVIS.EDU
Organization: University of California, Davis

Hey fellow netters  this  I ma posting on behalf of my wife
who is offering private sitar lessons at home for all those
living around Davis California, or even the Bay area if you are
willing to drive. Rates will be finalised depending on how
many lessons per week you are willing to take and depends on
whether you are a student or not. It would generally be around
$ 10 per hour for beginners and slightly higher for advanced
students. You donot have to have a sitar we have one and are
looking for another 
So if you are interested please call at 916 753 7785 or e-mail
me at varma@relleno.engr.ucdavis.edu.

Thank You

Hemant Varma
Newsgroups: rec.music.indian.classical
From: rahul@eola.cs.ucf.edu (Rahul Kasralikar )
Subject: Request: Songs & Ragas
Organization: University of Central Florida
X-Newsreader: Tin 1.1 PL4
Date: Mon, 28 Dec 1992 21:33:57 GMT

Hi:

Could anyone please tell me the ragas of the following songs:

1. Pal do pal kaa saath hamara, pal do pal ke yaarane hain ..
2. Hume tumhse pyar kitana yeh hum nahi jaanate ..
3. Saanz dhale gagan-tale ..

Rahul
Newsgroups: rec.music.indian.classical
From: srini@engin.umich.edu (Srinivasan Pichumani)
Subject: Re: List of Carnatic CDs
Date: Fri, 01 Jan 93 15:23:49 EST
Organization: University of Michigan Engineering, Ann Arbor

I am not sure if you have this on the list, but there is
one more CD of Balachander playing just the rAga 
	cakravAkam, tAnam, and the kriti "suguNamulE" 
on the DENON label; it is a re-issue from a record made in 
the 70s.

--Srini.
From: srihari@sam.cchem.berkeley.edu (Srihari Keshavamurthy)
Newsgroups: rec.music.indian.classical
Subject: Re: ...... recommendation -2 ......
Date: 31 Dec 1992 03:52:00 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: sam.cchem.berkeley.edu

In article <1992Dec30.015941.8980@cs.wayne.edu> seeta@eng.wayne.edu writes:
>
>lastly, I remember seeing a OLD BW movie on TV, about a famous love story between a naa[gd]aswaram
>player and a temple/court dancer, played by sivaji ganesan and jayalalita (?).
>Anyone care to reply as to who that famous player was...?  Been a long time since
I think it is padmini and sivaji. The film is, if I remember right, Thillana
Mohanambal. My guess is that Karaikurichi(sp?) Arunachalam is the
naadaswaram player.
srihari
Newsgroups: rec.music.indian.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: Carnatic composition books
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Fri, 1 Jan 1993 21:13:03 GMT

In article <yCb=#lB@engin.umich.edu> Srinivasan Pichumani writes:
>in Smt.Vidya Shankar's book -- "Syama Sastri compositions".
>[Incidentally, this lady is one of the most respected/dependable
>sources for information on Syama Sastri's compositions/lyrics.
>She learnt these compositions from the composer's great great
>grandson, and has painstakingly set all the available compositions
>of this Trinitarian to notation; this book gives the lyrics in Tamil,
>Telugu, Devanagari scripts and an English translation. It also
>has an accurate life-history of the composer, and the author's articles
>on Syama Sastry & gamakas presented at forums like the Music Academy,
>Madras]

Could you give a more explicit reference for this?  Knowing the publisher
or perhaps the ISBN number would be quite helpful.  I would like to find
scores of the compositions of each member of the Trinity -- I have seen
some bibliographical information posted here before, but unfortunately I
did not save it and I am also unclear as to how easy it would be for an
english speaker to understand the text and/or notation.  It would be
extremely helpful if someone could (re-)post references for Trinity kritis
in books available in the US and with English translations, or at least
with a few notes about the intended audience for the book.  I would really
like to see scores (though I don't know what sort of notation is alluded
to above, but chances are I can figure it out with a few guidelines), with
perhaps some biographical information.  Hopefully such texts are available
or will be soon.  Thanks.

T. M. McComb

Newsgroups: rec.music.indian.classical
From: srini@engin.umich.edu (Srinivasan Pichumani)
Subject: Subbarama Dikshitar & Pt.Bhatkande (was Re: Bhatkhande)
Date: Thu, 31 Dec 92 13:35:27 EST
Organization: University of Michigan Engineering, Ann Arbor
Keywords: Bhatkhande; musicology

In article <1992Dec23.202528.25092@u.washington.edu> gangolli@frobenius.math.washington.edu (Ramesh Gangolli) writes:
>
>I am posting the Bhatkhande article as promised. It appeared originally in
>Bansuri, a journal published by Ragamala Performing Arts of Canada, some
>years ago. It has been reprinted by a couple of  literary/musical review
>magazines in India since its first appearance. I would welcome comments and
>or corrections.
>
>Ramesh Gangolli.

If I may add a note: Pt.Bhatkande visited Ettayapuram
(in the deep South of India -- say about 100 kms from Kanyakumari) in the early
1900s, around 1904 or so. And probably interacted a lot, in a musical sense, with 
Subbarama Dikshitar (the grandson of the legendary composer Muttusvami Dikshitar's
brother, Balusvami; and also Balusvami's adopted son).

At that time, Subbarama Dikshitar was working on his magnum opus -- 
the Sangita Sampradaya Pradarshini -- a compendium on music running to about 
1700 pages in its original Telugu script edition published in 1904. In this
work, Subbarama Dikshitar has organized the musical material according to 
the 72 rAgAnga-upAnga-bhAShAnga rAga scheme originating from Venkatamakhi. 
(rAgAnga rAgas are the name given to the parent scales in the Dikshitar tradition
- which was rechristened in this century as the asampUrNa mela paddhati to 
distinguish it from the sampUrNa mela paddhati wherein every melakarta has all
7 svaras in ArohaNa/avarohaNa)

In addition to this classification, Subbarama Dikshitar used an extensive
set of notations in order to notate about 229 kritis of Muttusvami Dikshitar,
many varnas, svarajatis, gItas, ... This notation was very closely allied to
the vaiNika traditioin, and the symbols for gamakas are actually explained 
wrt vINa playing.
Pt.Bhatkande wrote an English foreword to the beginners music book (also written
by Subbarama Dikshitar, as an addendum to the SSP) called "prathama abhyAsa 
pustaka"(?)
 
--Srini.
From: cen466p@vaxc.cc.monash.edu.au (S. Parthasarhathy)
Subject: Re: ...... recommendation -2 ......
Organization: Dept. of Chem. Engg., Monash University, Australia
Date: Thu, 31 Dec 1992 06:17:00 GMT

In article <1htqp0INNc0h@agate.berkeley.edu>, srihari@sam.cchem.berkeley.edu (Srihari Keshavamurthy) writes:
> In article <1992Dec30.015941.8980@cs.wayne.edu> seeta@eng.wayne.edu writes:
>>
>>lastly, I remember seeing a OLD BW movie on TV, about a famous love story between a naa[gd]aswaram
>>player and a temple/court dancer, played by sivaji ganesan and jayalalita (?).
>>Anyone care to reply as to who that famous player was...?  Been a long time since

It is a color movie. 

> I think it is padmini and sivaji. The film is, if I remember right, Thillana
> Mohanambal. My guess is that Karaikurichi(sp?) Arunachalam is the
> naadaswaram player.
> srihari

You are correct. sivaji ganEsan, padmini starred in thillaanaa mOhanAmbAL
(story by koththamangalam subbu). AVM rAjan acted as the other naadhaswaram
player (accompanying sivaji) in that movie. the actual persons who played the
nadhaswaram for that movie were NPN brothers (mr. N.P.N. sEthuraaman and mr.
N.P.N. ponnuswami). karukuruchchi (sp?) aruNaachalam, i think, played for
gEmini ganEsan in the movie konchum salangai (?) (remember the song singaara
vElanE thEvaa sung by Janaki).

ParthaSarathy
ChemEngg
From: ez004583@ALCOR.UCDAVIS.EDU (Hemant Varma)
Newsgroups: rec.music.indian.classical
Subject: favorite recordings
Date: 24 Dec 92 02:35:51 GMT
Reply-To: ez004583@ALCOR.UCDAVIS.EDU
Organization: University of California, Davis

Actually I have several other favorite recordings but I am doing this just to test whether I can post this article.  I am using a friends account to do this .  My email address is : sdutta@ucdavis.edu and my name is Sunil.
Take it easy and peace to you all.
From: krisna@cs.wisc.edu (Krishna Kunchithapadam)
Newsgroups: rec.music.indian.classical
Subject: LYRICS --- dhaevE brova samayamedhae
Keywords: SyAmA SAsthre, rAga centhAmaNE, dhaevE brova samayamedhae
Date: 22 Dec 92 15:53:03 GMT
Followup-To: rec.music.indian.classical
Organization: U of Wisconsin Madison - Computer Sciences


LYRICS:

rAga:           centhAmaNE
thALa:          Adhe
vAggaeyakAra:   SyAmA SAsthre

pallave:
        dhaevE brova samayam-edhae athe vaegamae vacce;
        nA vaethalu thErcce karuNensavae, sa~karE kAmAkShE.

caraNam:
        loka jananE nApi dhaya-laedhA, nE dhAsuda gAdhA
                SrE ka~cE vehAreNE, kalyANE;
        aekAmraeSvarune preya BAmayE, yunnanE-kaemammA
                yaentho BAramA venumA thallE.

caraNam:
        SyAma kRShNa sodhare kaumArE, bembAhare gaurE
                hae mAm pAhe lalethae, para dhaevathA;
        kAmAkShE nenuvenA BUvelo praematho
                kApAdae vAraevarunnAramma thallE.

[Notes: I do not know any thaelugu, so there may be some
guru/laGu & DhErga/hrasva errors in above transcription.  The
lyrics are based on bAla-muraLe-kRShNa's rendering of the piece.
The hyphens indicate word breaks and the `~' indicates an
`anusvAra' (canonically replacable with an `n' nasal sound).

If anyone is interested in the transliteration scheme I use
please mail me for more information.

Finally, Mohan Krishnamoorthy, in his original posting mentioned
that the kRthE has 3 caraNas. The rendition I have has only the
above 2 caraNas. Someone should clarify this.]

-----------------------------------------------------------------

I have references to 6 different rAgas that go by the name of
centhAmaNE --- the versions being janyas of widely unrelated
meLakarthAs ranging from saenAvathE to DharmavathE.

As pointed out earlier by T.Mohan, Prof.sAmbamUrthE, gives a
rAga lakShaNa based on the scale of ShaNmuKa-preyA.

bAla-muraLe's rendition follows the versions based on `rAma-
preyA'. The rAga lakShaNa is given in `rAga koSham'. Here,
centhAmaNE is a neShAdhAnthya rAga, the scale is ...

        s g3 m2 p d2 n2
        d2 p m2 p g3 r1 s _n2 s

The same scale is also called `centhAramaNE' in some books.


I have not heard any other renditions of this kRthE. However, I
do not know of the authenticity (or lack thereof) of the `rAma-
preyA' version of this rAga. As is usual with obscure rAgas
(prof.sAmbamUrthE says that the lakShaNa of centhAmaNE survives
only through this one kRthE), it is almost impossible to decide
the `truth' based on current practice and traditional heresay.


--kRShNa
From: srini@engin.umich.edu (Srinivasan Pichumani)
Subject: Re: RTP, Anulomam, Pratilomam, Vilomam
Date: Fri, 01 Jan 93 15:14:52 EST
Organization: University of Michigan Engineering, Ann Arbor

Let me throw in one more phrase that is heard along these lines:
"gatilomam" which is synonymous to pratilomam as I understand it.
Demonstrations of this are indeed very rare, but there was one
in a recent Music Academy conference -- in 87 or so. I don't
remember the name of the artiste involved who gave this demo
at a morning session -- but I do remember that vidvAn 
TMThiagarajan (a SangIta kalAnidhi - probably more interested in
controversies these days than actual music production)
kind of pooh-poohed off this whole exercise as flawed (source:Sruti)

Vilomam in general means reverse order (as Mohan mentioned); for
example, the chittasvaras at the end of Dikshitar's caturdasha rAgamAlikA
are referred to as "viloma citta svara". Some people use anuloma-viloma
to refer to the change in speeds, as tAla is kept constant, some others
call it as anulomam only, and others just call it trikAlam (1/2, 1, 2 
tempi) which is quite descriptive.

--Srini.
Newsgroups: rec.music.indian.classical
From: sunder@IASTATE.EDU (Sunder B Athreya)
Subject: Keeravani and Keeranavali
Reply-To: sunder@IASTATE.EDU (Sunder B Athreya)
Organization: Iowa State University
Date: Wed, 30 Dec 1992 18:07:03 GMT


Could someone characterize the differences between the Ragas Keeravani and
Keranavali for me. I have been listening to the Saint Tygaraja's composition
Eti-yochanalu the last few days and have been unable to nail down what
distinguishes it from Keeravani. Thanks to anyone who can shed some light on
this.
  Sunder
Newsgroups: rec.music.indian.classical
From: nemanra@eng.auburn.edu (Rajasekhar V. Nemani)
Subject: Re: Ragas of `Thiruppavai' (Tamil) Songs
Reply-To: nemanra@eng.auburn.edu
Organization: Auburn University Engineering
Date: Thu, 31 Dec 1992 18:19:01 GMT

Can any one enlighten me about ARUNAGIRINATHAR and his songs of THIRUPPAGAZZ and their 
ragas of composition.I know one song "SIRSIRAKU MANI PASE, PASELANA,NOOPURAKIMOSIEGALI"
(I may be wrong as far as the exact words in the above lyric are concerned.I dont 
know Tamil.My native tongue is Telugu.) by ARUNAGIRINATHAR rendered by T.N.SESHAGOPALAN
in ragamalika(sankarabharanam,nadanamakriya???,thodi,madhyamavati).
       Thanks in advance.
From: huibingz@acpub.duke.edu (Huibing Zhang)
Newsgroups: rec.music.classical
Subject: London Brass vs. Canadian Brass
Date: 23 Dec 92 19:55:57 GMT

Hi, 
I would like to buy one of the two CDs: Christmas with the London
Brass and Christmas with the Canadian Brass. I don't want to buy 
both of them. Please tell me which one you would buy. BTW, the 
first CD is from Teldec and second is from RCA.
Thank you very much. Merry Christmas and happy new year.
Harold
Newsgroups: rec.music.classical
From: hellerS@moravian.edu (sjh)
Subject: Piano Sonatas: Barber, Carter, Copland & Ives
Date: Fri, 1 Jan 93 23:42:15 EST

I just wanted to mention a CD that contains 4 complete American Piano
Sonatas: Sam Barber, Elliott Cartor (1982 rev.), Aaron Copland, and Chas.
Ives "3-Page Sonata", on one 75+ min. 3D CD performed by Peter Lawson on
Virgin Classics VC 791163-2. 

For anyone who likes even ONE of these works, I can recommend this CD. The
performances are quite fine. Of the sonatas themselves, my favorites are
the Carter and Barber, followed by Copland with the Ives work being a
rather odd work that I've known for a long time but have never really
appreciated (but it is only 7 min long).

It took the pairing of these works on a single recording for me to hear,
after many years of listening to each individually, how SIMILAR they are
(excluding the Ives). When listening to the Carter, and then movement 2 & 3
of the Copland, I find myself in the same world. I suspect that Carter's
Sonata of 1946 was influenced by his slightly elder contemporary Copland,
whose Sonata appeared about 5 years earlier. Personally I like Carter's
work more, but both are fine sonatas. (For those who may only know what
they have heard of Carter's later music, the Piano Sonata is not atonal or
serial, and has an exuberience in its 2 movememnt form that is hard to
match...maybe on par with Beethoven's op.111 (just an idle thought :-)

The Barber Sonata is well played, although I think Lawson may take the 1st
movement a bit faster than I'd like. Probably me favorite performance of
this work is by Van Cliburn...but that was also the FIRST recording I
heard, many years ago, and first impressions sometimes cloud judgment.
Otherwise, Lawson's brisk performance is non-the-less brilliant, on all
four sonatas, and I recommend this CD to anyone who is looking for a very
nice set of some Classic American Piano Sonatas. BTW: This is marked as
"American Piano Sonatas: Volume 1". It was recorded in '91, and I haven't
seen any references to progressive volumes, but if Lawson continues to
produce these fine anthologies, I know I will buy them.

Stephen Heller
hellerS@moravian.edu
From: Frank.Panettiere@f2010.n391.z1.FidoNet.Org (Frank Panettiere)
Sender: UUCP@p0.f1060.n391.z1.FidoNet.Org
Newsgroups: rec.music.classical
Subject: RE: OZAWA
Date: 25 Dec 92 08:17:50 EST


 > I have to agree also.  In the five seasons that I've been attending 
 > BSO
 > concerts, I must admit that I prefer guest conductors to that of
 > Ozawa.  Ozawa, in my opin, hasn't rallied the potential that the BSO
 > exhibits.  Many members are exceptional players, but the ensemble
 > playing under Ozawa's hand just doesn't measure up to many of the
 > other US orchestras.  The man doesn't even live in Boston ... he
 > commutes from Japan.  In all fairness, I did hear him conduct a
 > wonderful, sensitive, firey Berlioz *Symphonie Fantastique* once, 

Could that one performance be just the result of the BSO's "institutional
memory" of how the Symphonie Fantastique SHOULD be played?  The "all time
best performance" of the S. Fant. I ever heard was Pierre Monteux's with
the BSO in the 1950's.
                                                        Frank


 * Origin: The Coop: ARK tradition since '87 501-273-CHIC (1:391/2010)
Newsgroups: rec.music.classical
From: mrapple@quack.sac.ca.us (Nick Sayer)
Subject: Help: name this piece
Organization: The Duck Pond public unix: +1 408 249 9630, log in as 'guest'.
Date: 3 Jan 1993 23:29:01 UTC

It's been used in several IBM commercials and in a recent
episode of "Nature" (the one on bees). Its theme has a
mechanical quality to it, but its rhythmical construction
(for me at least) defies description. It sounds to me like
a piano + string quartet. The main theme is in even eighth
notes: E C G C A C' C E C G C D C B C, which then repeats.

My thanks in advance if anyone can identify this piece.
I want to get a recording of it. If anyone can help me
understand the rhythmical construction, I'd appreciate that
as well. The theme is 15 beats long, but it sounds like it's
in four, almost...

-- 
Nick Sayer <mrapple@quack.sac.ca.us> | "A man works hard for his filth
N6QQQ @ N0ARY.#NOCAL.CA.USA.NOAM     | just to have vagrants come and
+1 408 249 9630, log in as 'guest'   | steal it. It's a crying shame."
PGP 2.1 public key on request        | 	     -- man
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: shostakovich/Mravinsky was Re: Shostakovich symphony recommendations
Organization: Morgan Stanley & Co., New York, NY
Date: Wed, 23 Dec 1992 17:37:27 GMT

In article <1992Dec22.014154.25017@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>: 	I'm just beginning to explore Shostakovich's symphonic output.
>: To date, I own symphonies #7 (Mata/Dallas) and #6 & #9 (Jansons/Oslo),
>: and I'd like to know your thoughts on the following:
>: 	1.  What are the "best" recordings of his 11th and 13th?
>: 	2.  Which other of his symphonies would be most worth exploring
>: (as a possible guideline, I like the 7th much more than the 6th and 9th)?
>
>Symphony No.4 (my own favourite) Moscow PO/Kondrashin, although I
>	don't know if this is still around.
>Symphony No.5 Czech PO/Ancerl ditto. There is also a Mravinsky version
>	on Erato but it has had mixed reviews.
>Symphony No.10 NYPO/Mitropoulos - almost dead heat for first
>	recording, electrifying. But top marks go to Leningrad
>	PO/Mravinsky on Erato; staggering performance, ferocious
>	scherzo and *very* ambivalent ending. Mravinsky gave the
>	premiere, as he did of several other DSCH symphonies.
>Symphony No.11 Houston SO/Stokowski. The De Priest onm Delos is good,
>	but this still beats them all.
>Symphony No.12 Haven't heard it yuet, but the Leningrad PO/Mravinsky
>	on Erato is apparently the only performance to make this sound
>	like music.
>
>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452

Shostakovich/Leningrad Symphony Orchestra/Mravinsky:

	 5	4 April 84	Erato 2292 45752 2
	10	3 March 76	Erato 2292 45753-2
	12    	30 April 84	Erato 2292 45754 2

	10 	?		Saga SCD 9017

	15     	3 June 76	Melodiya MCD 244 ("Mravinsky Legacy", Vol 5)

 	 8	? March 82	Philips 422 442 2

	 5	12 June 78	Japanese Victor VICC 40118-23 (6 disks)
	 6     	25 February 65	
	 7	26 February 53
	 8	2 June 47

	10     	31 March 76
	11	2 February 59
	12	? ? 1961
	15	26 May 76


		
Newsgroups: rec.music.classical