HDTenEightyP/NetNews huggingface dataset:
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Schaeffer and Henry
Date: 8 Sep 92 14:54:51 GMT
Article-I.D.: menudo.1992Sep8.145451.11673
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston


Help... Could somebody please enlighten me as to the available CD recordings
of music by Pierre Schaeffer and/or Pierre Henry, especially their *musique
concrete* and electronic pieces. They may be available on obscure (to me)
French labels which don't make it to my part of the world.

Thanks,
Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: gjm11@cus.cam.ac.uk (G.J. McCaughan)
Subject: Re: Switcheroos
Organization: U of Cambridge, England
Date: Sun, 13 Sep 1992 01:59:58 GMT

In article <BuFB9u.86C@dcs.glasgow.ac.uk>, jack@dcs.glasgow.ac.uk (Jack Campin) writes:

> I once mail-ordered an LP of Schoenberg's Wind Quintet from the UK to New
> Zealand.  Took three months to arrive.  Opened the packaging and stuck it
> straight on the record player without looking more closely at the label
> than required to see "Side 1".  What I got was the Bee Gees; the wrong disc
> had been put in the sleeve at the factory.
> 
> I bet some Bee Gees fan got even more of a shock, though.

I've got a record my father bought ages ago. The sleeve says it's "The Best
of Sellers", a compilation of Peter Sellers being funny. It's actually twelve
Chopin Etudes. Hmm.

-- 
Gareth McCaughan     Dept. of Pure Mathematics & Mathematical Statistics,
gjm11@cus.cam.ac.uk  Cambridge University, England.    [Research student]
From: ca572@cleveland.Freenet.Edu (Mark L. Stackpole)
Newsgroups: rec.music.classical
Subject: Mahler #10 & Cooke
Date: 11 Sep 1992 00:08:17 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


From what Cooke had to work with, the 10th comes close enough.
The published score of the Performing Version contains facsimilies
of Mahler's sketches; at some points in the 4th and 5th movements,
all Cooke had to work with was a single line of melody. If there
is a flaw, it is that Cooke deliberatly set out to include as 
much of the material he had on hand into the symphony, stuff that
old Gustav might have cut or polished if he lived long enough to
get the 10th into a finished form. IMHO the last movement goes
on too long. Also, since he was only working with sketches, other
sections sound stark and bare, not with the plumpness of 
orchestration evident even as late as "Song of the Earth" & #9.
The third movement, Pergitorio, suffers in this reguard.
Who has done it the most justice? A. James Levine.
Mark Stackpole   pacnet@rocky.claremont.edu
Newsgroups: rec.music.classical
From: smith@CS.Stanford.EDU (Jeremy Smith)
Subject: Re: Mahler 6 (was Re: Du Pre recital)
Organization: Computer Science Department, Stanford University
Date: Mon, 14 Sep 1992 17:29:51 GMT

In article <1992Sep13.195113.17582@cmcl2.nyu.edu>, tony@cns.nyu.edu (Tony Movshon) writes:
|> Three very recommendable Mahler 6's are (1) Abbado, on mid-price DGG, excellent
|> analog sound, very tight and well-modulated performance; I also still like
|> the (2) Solti/Chicago recording of the early '70s. This was one of the first
|> Decca Chicago recordings and I don't think the engineers quite had the
|> measure of the orchestra and hall yet, but the performance is remarkable
|> for its drive and power. I believe this one is still full-price, but I'm
|> not certain. Finally, there is (3) Szell's live 1966 Cleveland performance,
|> now re-released on one bidget CD by Sony. 
|> 
|> ---
|> 					Tony Movshon

WHAT!?!? No BERSTEIN???

Any group of the best performances of Mahler's 6th Symphony must include Bernstein's most
recent recording with the Vienna Philharmonic.  I am not the only person who will tell you
this, so there's no need to say much more.  The timbres achieved in this recording are a
credit to Mahler's orchestrtion genius.

Jeremy.
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: Recording Poulenc
Date: 15 Sep 1992 15:09:45 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

I would also like to know this. I have made for my own use a large
number of midi files of organ chorales by composers who died in the 30's
and would like to know if it permissible to release them for ftp. (eg
Tierne, Karg-Elert, Tournemire, etc)

When is it legal to do so?

What about scholarly editions of Bach, Buxtehude etc? They all have copyright
notices on them. Surely the D minor T&F can't be copyright, no matter
who did the research. A throng of anxious midi-folk await the reply with
bated breath.
Newsgroups: rec.music.classical
From: pdelafos@djulien.dsd.es.com (Peter Delafosse)
Subject: Re: Sibelius 2nd
Reply-To: pdelafos@djulien.dsd.es.com (Peter Delafosse)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Tue, 8 Sep 92 14:05:43 GMT

-- 
No one has mentioned the EMI Sibelius set conducted by Paavo Berglund.
Unfortunately, EMI deleted most of the CDs, but I think the recording
of the 2nd is still available. These are among my favorite recordings
of the symphonies, and Berglund is one of the few to (rightly) include 
the Kullervo Symphony. In some ways Kullervo is the most remarkable of
the symphonies. It is Op. 7 (1892) and is a 75-minute, five-movement 
work for soloists, chorus, and orchestra. (#1 is Op. 39 (1899). Also, 
Kullervo was written two years before Mahler #2.)

--Peter DeLafosse
Newsgroups: rec.music.classical
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Subject: Re: Tristan and the taragota
Organization: School of Computer Science, Carnegie Mellon
Date: Sat, 12 Sep 1992 17:28:50 GMT

In article <BuF27t.A56@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <18ptr7INNin8@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>
>>Margaret Mikulska (mikulska@crux.Princeton.EDU) wrote:
>
>>: 3. It was the other way round: Wagner specified cor anglais, and
>>:     Mahler suggested the use of tarogato instead.
>>Can you provide some source information about that? - I'd like to track it
>>down. I know the scores I checked don't have a T., but I have read it the other
>>way in a few places. 
>
>>It would however fit Mahler's view on tarting things up. But to whom did
>>he make the suggestion?

>orchestra.  The chances of an English horn being heard from backstage
>under such circumstances are slim.  

I guess you've never heard Tom Stacy, my colleague in the NY Phil.


>though he settled for English horn in the published score.

Jon, Jon---no one settles for the English horn. :)  We get the good solos
because we sound so nice.  :) :) :) :)

>Jon Alan Conrad

Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Trio
Newsgroups: rec.music.classical
From: packer@amarna.gsfc.nasa.gov (Charles Packer)
Subject: Six fingers to play harpsichord, eh?
News-Software: VAX/VMS VNEWS 1.4-b1  
Organization: Dept. of Independence
Date: Mon, 7 Sep 1992 15:18:00 GMT

In a discussion here about harpsichords recently, somebody
mentioned that in the 17th-18th centuries, harpsichordists
used only fingers 2-3-4. I recall being told this by my
piano teacher when I was a kid, though I remember the story
being that fingers 2-3-4-5 were used -- only the thumb was
forbidden. And students had to practice with glasses of water
balanced on the backs of their hands. Ah yes, the old
think-of-the-starving-Chinese-and-eat-your-spinach stunt... 

Anyway, was there in that era a =theory= of why the unused fingers
shouldn't be used?
Newsgroups: rec.music.classical
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: Re: Threepenny Opera...THE MOVIE
Organization: Computer Science Department University of Rochester
Date: Thu, 10 Sep 1992 20:54:25 GMT

In article <BuDpMn.74o@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <CB.92Sep10102221@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:

>>The 1931 version is authentic and so forth, but I
>>wouldn't call it enjoyable.

>I envy you -- I've never had the chance to see it.  I'd like to, because
>it does stem from the right era and it has the young Lenya in it.  But I
>can well believe that the experience might be more instructive than
>enjoyable.

Well, FWIW, I kind of liked it.  It's pretty funny, the acting is
reasonably good, and so on (although the subtitling is awful!).
It's not my favorite movie or anything, nor is it the way I'd ideally
like to see the show, but it was a pleasant enough way to pass
a couple of hours.

  (Incidentally, it's out on tape from Embassy Home Entertainment)

Gavin Steyn
steyn@cs.rochester.edu
"So he's had the lifelong ambition of reversing the polarity of the earth?"
Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: Re: Le Sacre, Stravinski
Reply-To: pajerek@kadsma.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Thu, 10 Sep 1992 16:05:52 GMT

In article <1992Sep10.132551.9819@uxa.ecn.bgu.edu> ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
>In article <BuCxsJ.8Ix@cs.vu.nl> lrozend@cs.vu.nl (Rozendaal L) writes:
>>I'd like to know which performance of 'Le sacre du printemps' is considered
>>the best. Any opinions?
>
>I like Stravinsky's and Boulez's (Cleveland) from the early 60s.
>It seems when the tempo is slow, I like Boulez's, and when the tempo is
>fast, I like Stravinsky's.
>
>
>Jeff

I'm glad someone reminded me: the Boulez recoding on Nonesuch (1960's) is
another classic _Sacre_. It blows away the Cleveland recording. This one
*might* be available on CD, possibly as in import (from the USA perspective).


Don Pajerek

Newsgroups: rec.music.classical
From: mr@rwthi3.informatik.rwth-aachen.de (Matthias Rademacher)
Subject: HANDEL: Giulio Cesare from MET
Summary: Is there a recording of Handels Opera Giulio Cesare from the MET?
Keywords: Handel, Opera, Baroque, Music
Organization: Rechnerbetrieb Informatik  /  RWTH Aachen
Date: 15 Sep 92 15:45:48 GMT

Some Years ago there was a performance of George Frederic Handel`s
Opera "Giulio Cesare" in the Metropolitan Opera, New York City. 
Does anybody know if there is a recording of
this performance (an radio or television broadcast or a private
tape)? The conductor was TREVOR PINNOCK, the soloists included 
KATHLEEN BATTLE and TATIANA TROYANOS. I expect it to be one of the
most interesting performances of this baroque opera. Did anybody
see one of the performances? What was Your impression?


Cheers,
    Matthias Rademacher
From: lmeissne@milton.u.washington.edu (Loren Meissner)
Newsgroups: rec.music.classical
Subject: GHOSTS OF VERSAILLES
Date: 11 Sep 92 15:05:44 GMT
Distribution: na
Organization: University of Washington, Seattle

Chris Brewster <cb@tamarack.cray.com> asked me:
To: Loren Meissner <lmeissne@milton.u.washington.edu>
Subject: Re: The Ghosts of Versailles
Could you say what this work is, approximately?  (Post it.)
Chris Brewster

My response:
It is an opera which was first performed at the Met (opera) in NYC last
December and will be seen on PBS-TV in most areas next week. The reviews I read 
in Opera News indicate that it is an opera spoofa or opera buffa, but I haven't
 seen it. My earlier posting was to ask whether anyone else HAD seen the opera 
and if anyone knew if the CD was out.
Newsgroups: rec.music.classical
From: smith@honesty.Stanford.EDU (Jeremy Smith)
Subject: Re: Solti and Karajan (was: Re: Mahler's 5th Symphony by Solti ...)
Reply-To: smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith)
Organization: Stanford University Computer Science Department
Date: Tue, 8 Sep 1992 17:55:48 GMT

In article <1992Sep8.033831.29158@cmcl2.nyu.edu> tony@cns.nyu.edu writes:
>
>HOWEVER, I have to add that these two, conducting their "home"
>orchestras, have provided for me my finest experiences of orchestral
>musicianship. Solti, on many occasions at Carnegie Hall with the CSO,
>Karajan, more rarely. 

MORE RARELY !?!?!?!

Perhaps you haven't had many opportunities to hear Karajan live.  But
that really doesn't matter since Karajan isn't known for having a
special gift in live performance.  What does matter is that his best
performances are on CD and he DOMINATES the cataloge in romantic music.
If you are interested in Bruckner, Tchaikovsky, Strauss (any of them),
Sibelius, and (to a lesser degree) Mahler and Brahms, he cannot be
overlooked.  In addition, he has numerous gems from Mozart to Webern.
Solti may be good for Wagner, but he is not at the same level for the
above mentioned composers(Solti's Mahler #1 is quite good, though). 
No doubt, Karajan has injected a few dogs into the CD catalogue 
(Shostakovich #10 for example), but Solti cannot compete with his 
best, period.

Jeremy.
Newsgroups: rec.music.classical
From: smith@honesty.Stanford.EDU (Jeremy Smith)
Subject: Re: Sibelius 2nd
Reply-To: smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith)
Organization: Stanford University Computer Science Department
Distribution: rec
Date: Sun, 6 Sep 1992 22:34:30 GMT

In article <1992Sep4.202702.14760@vax5.cit.cornell.edu> saqx@vax5.cit.cornell.edu writes:
>A poster recently raised the question of whether Blomstedt's new version
>of Sibelius's 2nd is worth it as a "thinking person's" Sibelius.  Well,
>I have four versions on CD, Bernstein with the VPO on DG (in a rare 
>moment of lunacy--I generally can't stand the sound of the VPO brass),
>Mehta with the NYPhil on Teldec, Jarvi with the Gothenburg SO on Bis,
>and now Blomstedt's entry.  I'm still looking for a version that *really*
>satisfies me.
>

Look no further than the best Orchestra in the the most exciting country
for classical music today:  The London Symphony Orchestra conducted by 
Sir Charles Mackerras.

This recording *BLOWS AWAY* the competition.  Jarvi's version of this is
a little clearer at the end of the finale when the tuba and trumpet come
in, but there are no other exceptions.  The L.S.O brass is amazing 
throughout: very clear and very in tune.  And the rest of the orchestra
is lock-step behind Mackerras, who has hardly put out a bad CD to date. 
Balance, conception, acoustic, and execution are all here.                                 
Having only heard Karajan's EMI version along with Jarvi's,  I cannot
proclaim Mackerras' Sibelius 2nd the alltime best.  But I can say it is 
a very pleasing account.

(Two Thumbs Up!)

PICKWICK PCD 927 or MCA MCAD 25884

Jeremy.


in.  The brass is amazing

Newsgroups: rec.music.classical
From: dbrooks@penge.osf.org (David Brooks)
Subject: Re: Du Pre recital
Organization: Open Software Foundation
Date: 13 Sep 92 23:11:23

rbrooks1@cc.swarthmore.edu (Rob Brooks) writes:

> Yes, I am yet another member of the generation of Jaqueline Du Pre
> worshippers.

Rephrase, please.  You are a member of another generation of worshippers.
There were those among us 25 years ago or so who were ready to kill Stephen
Bishop.

> Rob "Oh damn, not another freshman on the network" Brooks

This is my beloved son, in whom I am well pleased.
--
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
Four more months!  Four more months!
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: wedding music
Organization: Camosun College, Victoria BC, Canada
Date: Mon, 7 Sep 1992 02:29:25 GMT

How about a new twist on an old favourite? Liszt's piano version of
the Wedding March and Elves' Dance from A Midsummer Night's Dream? It
would certainly make the audience sit up and take notice.

Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.

Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Threepenny Opera...THE MOVIE
Organization: pubs
Date: 8 Sep 92 12:56:34 CDT


A few years back I happened to see a movie version of Weill's Threepenny
Opera, not under the most auspicious conditions (something like channel
56 at 1:30 AM, interrupted by car commercials).  I'd guess it was from
about 1962 and had, strangely enough, Sammy Davis Jr in the cast.  It
was actually good, easily the best thing I've seen Davis do (definitely
in the right spirit and with a certain daring edge).  I've never found
the slightest trace or mention of this version anywhere.  My movie
guide, reviewing the heavy, heavy 1931 German version, breezily mentions
"numerous other versions" without identifying any of them.  I've somehow
missed all these numerous other versions except the one with Davis.  Can
anyone tell me anything about film versions of 3PO, esp. Davis's?

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
Subject: Re: Sibelius Second Symphony
From: dgold@basso.actrix.gen.nz (Dale Gold)
Date: 16 Sep 92 02:26:58 PST
Organization: New Zealand Symphony Orchestra

Quoted from <1992Sep9.122632.28645@visual.com> by rwh@visual.com (Rob Holzel):
> >hearing Vladimir
> >Ashkenazy conduct the 7th in concert several years back
> 
> Incidentally, I've heard tell that members of the Boston
> Symphony found him to be a delightful man, but nearly 
> impossible to follow as a conductor.

If there's any room left on the list, let's add his name! :-)
 
> In a general sense, I'd say his conducting is servicable but
> unextraordinary.  I admire his ambition, particularly in
> pursuing both his pianistic and conducting endeavors 
> simultaneously, but aside from that I guess I miss what
> all the fuss is about.
> 
> Anybody else care to comment?

I've enjoyed his many recordings and have enjoyed accompanying his piano
concerti.  However, although great musicianship and great conducting walk
hand in glove, the two arts are very different and don't often walk in the
same glove.  Have I mixed enough metaphors to make my point?  :-)

Cheers,
Dale
--
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand
From: frank@rover.uchicago.edu (Frank - Hardware Hacker - Borger)
Newsgroups: rec.music.classical
Subject: Re: Lyric Opera Schedule (was: proposal to this list)
Date: 4 Sep 92 19:29:00 GMT
Reply-To: frank@rover.uchicago.edu
Organization: Joint Center for Radiation Therapy
News-Software: VAX/VMS VNEWS 1.41

In article <1992Sep4.171429.11415@Princeton.EDU>, schissel@mace.Princeton.EDU (Eric Schissel) writes...
>Hm- there's nothing by Sessions, Berg, Schoenberg or Dallapiccola
>on that schedule (or by Brian, either)- and some Tippett would be
>nice.  ...

	So many operas ... so little rehersal time...	

   Frank R. Borger - Physicist    __       Internet:  Frank@rover.uchicago.edu
Michael Reese - Univ. of Chicago |___      Phone : 312-791-8075 fax : 567-7455
  Center for Radiation Therapy   | |_) _   The race may not be to the swift nor
    2929 South Ellis Avenue        | \|_)  victory to the strong, but that's
    Chicago, Illinois 60616           |_)  how you bet. - Damon Runyon
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.music.classical
Subject: Recording Poulenc
Date: 14 Sep 92 15:39:43 GMT
Organization: Columbia University

This question came up in discussion the other day and I was curious if anyone
knew for sure...

What is the copyright/legal situation with recording Poulenc (or any modern
composer for that matter) ?  I assume they copyrighted their works, and as I
recall, copyright extends 50 years beyond the author's death.  Does that also
apply to international copyright?.  Do their estates collect royalties in the 
recordings of their works?  


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Re: Le Sacre, Stravinski
Date: 11 Sep 92 13:49:49 GMT
Organization: University of Delaware

In article <1992Sep10.170804.12479@CSD-NewsHost.Stanford.EDU> smith@honesty.Stanford.EDU.Stanford.EDU (Jeremy Smith) writes:

>Well, I don't know which performance is considered *THE* best, that would 
>probably depend on who you asked.  I personally like Charles Dutoit       
>conducting the Montreal Symphony.  The "The Rite of Spring" is a very   
>difficult work to play, and Montreal is perhaps the most technically proficient
>Symphony Orchestra in the world today.  

!!!  I keep up pretty well with writings about recordings, and I've seen
Montreal called many complimentary things (most stylish orchestra, most
colorful, most songful and expressive, most "French," etc.), but never 
most technically proficient.  What have I been forgetting to read?

I like the Dutoit recording ok, but it doesn't stand out from a vast
number of equally proficient recordings for me (like Chailly, Ozawa,
Abbado).

Jon Alan Conrad
From: knotts@hpl-opus.hpl.hp.com (Tom Knotts)
Newsgroups: rec.music.classical
Subject: Re: Bach undervalued? (was: Beethoven - overvalued?)
Date: 4 Sep 92 19:07:18 GMT
Organization: HP Labs, High Speed Electronics Dept., Palo Alto, CA

> 
> After all, Mozart composed about half his music before he ever saw a
> note of Bach's music; after that, he knew mostly the keyboard works.
> 

He was also familiar with the Motets, which many believe strongly
influenced his Requiem. After hearing the first movement of the first
Motet performed, then studying the parts of the score, he proclaimed
"there is something one can learn from".

Tom
Newsgroups: rec.music.classical
From: mls@cbnewsm.cb.att.com (mike.siemon)
Subject: Re: Korngold
Organization: AT&T
Date: Fri, 11 Sep 1992 01:55:25 GMT
Summary: wonderful!

In article <18ooieINNcqs@usenet.INS.CWRU.Edu>, ca572@cleveland.Freenet.Edu (Mark L. Stackpole) writes:

> _Magic Fire_ contains no original Korgkold music. Just arrangements
> of Dick W's operas. EWK compressed all of the Ring into 2 and a half
> minuets

I presume that's a typo, but it's quite splendid anyway.
-- 
Michael L. Siemon		   "Oh, stand, stand at the window,
					As the tears scald and start;
mls@usl.com			   You shall love your crooked neighbor
standard disclaimer			With your crooked heart."
From: gjm11@cus.cam.ac.uk (G.J. McCaughan)
Newsgroups: rec.music.classical
Subject: Re: Beethoven's 10th. Symphony
Date: 10 Sep 92 17:17:10 GMT
Organization: U of Cambridge, England

There is a "realisation" of the 1st movement (only) of Beethoven 10
by Barry Cooper, a musicologist. It is certainly avaliable on CD, and
I've seen two different CDs containing it. The only one I can think
of offhand is a set of all the Beethoven symphonies, plus two overtures,
plus the "10th", released by Chandos, with CBSO/Walter Weller. I'm sure
the 10th must be available on its own though.

-- 
Gareth McCaughan     Dept. of Pure Mathematics & Mathematical Statistics,
gjm11@cus.cam.ac.uk  Cambridge University, England.    [Research student]