HDTenEightyP/NetNews huggingface dataset:
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Mahler's 5th Symphony by Solti and remastering CDs
In-reply-to: TW@UMAB.BITNET's message of 11 Sep 92 16:41:09 GMT
Organization: pubs
	<Bu7yzs.E7v@news.udel.edu> <1992Sep8.011639.9014@cbnewsm.cb.att.com>
	<92255.114109TW@UMAB.BITNET>
Distribution: usa
Date: 11 Sep 92 12:29:42 CDT

Micheal Siemon:

   > I had the dubious pleasure of having Martinon as the
   > principal conductor of the CSO during my time in the Windy City.

Tom Williams:

   What's the story behind Martinon and the Chicago Symphony?  I've
   heard some of the recordings he made with the CSO;  his recording
   of Hindemith's Nobilism Visione(pardon my spelling) comes to mind
   and was great.

I'll put in my periodic plug for Martinon's facility with French
repertoire: absolutely the best Berlioz and Debussy for my taste.  I
missed his Chicago period (though I was geographically near) so I don't
know why people complained about him.  Maybe he strayed too far from his
specialties?

Chris Brewster
cb@cray.com

Newsgroups: rec.music.classical
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Beethoven's 10th. Symphony
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Tue, 15 Sep 1992 19:19:05 GMT

In article <00960672.DA715FE0@vms.csd.mu.edu>, 6145goldino@vms.csd.mu.edu (Owen Goldin) writes:
>I seem to recall hearing on the radio several years ago an orchestral version
>of a reconstruction of the unfinished manuscripts for Beethoven's 10th
>symphony.  It did sound like Beethoven, and it sounded pretty good, though I
>admit to not really being able to appreciate most concert music except after a
>handful of hearings.  My question -- who did the reconstruction?  Is the

The person responsible was named Barry Cooper.  A very insightful discussion
of this reconstruction was written by Robert Winter entitled 
"Of Realizations, Completions, Restorations and Reconstructions:  From
Bach's The Art of Fugue to Beethoven's Tenth Symphony."  Don't let the title
fool you:  most of it is devoted to Cooper's Beethoven attempt.  It appeared
in the Journal of the Royal Musical Assocation, v. 116 part 1 (1991), 96-126.
Robert Winter has done extensive work with Beethoven sketches and is one of
the co-authors of "The Beethoven Sketchbooks" - an indispensible sourcebook.
The last clause in Winter's article reads:  "...Cooper's symphonic movement
demonstrates how far we remain from the work that died with its composer."


Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
Newsgroups: rec.music.classical
From: rwilmer@zinka.mitre.org (R. Wilmer)
Subject: Re: obscure but good
Organization: Mitre Corporation, McLean, VA
Date: Tue, 15 Sep 1992 19:28:07 GMT

In article <1992Sep15.160346.7840@walter.bellcore.com> sse@wind.bellcore.com (Samuel S Epstein) writes:
>
>
>What are your favorite musical sleepers? Can you recommend recordings?
>

Music of Reynaldo Hahn:  especially Chansons Grises, Etudes Latines,
and his operetta Mozart.  Also his opera Le Marchand de Venise 
and his operetta Ciboulette.

Operettas of Andre Messager, especially Les P'tites Michu, L'Amour
Masque, Passionement, and Veronique.  Also his opera, Isoline.

Hummel's septet

Ambroise Thomas's opera Psyche

Pacini's Sappho

Puccini's Le Villi

Rossini's Otello

Melodies francaises of Albert Roussel, Charles Gounod, Lili Boulanger, Erik
Satie, Henri Sauguet

Early Verdi:  I Masnadieri, Giovanna d'Arco, Alzira, Il Corsaro

A lot of Faure, I am not sure exactly what is obscure and well-known
of his chamber music, nocturnes, barcarolles, and preludes.
Anyway I like almost all of it.  Also his song cycles, Mirages,
Le Jardin Clos, La Chanson d'Eve (I guess La Bonne Chanson, L'Horizon
Chimerique, and Melodies de Venise count as well-known).

Most Russian opera.

Most Czech opera.

Poulenc's sonatas for clarinet and oboe (flute sonata is well-known).
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Mahler's 10th Symphony (Was Re: Beethoven's 10th. Symphony)
Organization: Camosun College, Victoria BC, Canada
Distribution: usa
Date: Fri, 11 Sep 1992 00:29:48 GMT

In article <10SEP199210595206@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel (x2025)) writes:
[....]
>The recording is conducted by Wyn Morris, and
>is available on CD (Morris was one of the first, if not The first, to record the
>Deryck Cooke Mahler #10).

The first recording of the *first* Deryck Cooke 'performing version'
of Mahler's 10th was by the Philadelphia under Ormandy (mid-60s).
Morris's 1976 NPO recording was of Cooke's revision. The original was
done with Berthold Goldschmidt, who conducted the first performance in
1960, the year of the Mahler centenary. The revision was done with the
help of David and Colin Mathews. This is the version (with their own
various emendations) recorded by Rattle, Levine (I think maybe his
Adagio is the Krenek score, it was certainly recorded first), Chailly
and - my own favourite (thanks again Rob!) Sanderling. Rattle and
Sanderling made their own small changes, I'm not sure about the
others.

Me - I'm convinced. It would have beWkn a masterpiece had Mahler
finished it. I think it's always worth bearing in mind that Mahler
*always* revised a work after the first performance(s). He made 3
versions of the 1st, and was still making small changes to the sixth
until nearly the end of his life. Das Lied von der Erde and the 9th
were never performed in his lifetime, so we will never hear his own
final thoughts on them either.

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



Newsgroups: rec.music.classical
From: terjer@ifi.unit.no (Terje Rydland)
Subject: Re: Schoeck
Organization: Ifi, University of Trondheim / AVH
Date: Tue, 15 Sep 92 08:34:14 GMT

In article <1992Sep15.052917.29454@Princeton.EDU> mikulska@astro.Princeton.EDU
(Margaret Mikulska) writes:
>In article <1992Sep1.184328.19459@fid.morgan.com> steve@fid.morgan.com (Steve
Apter) writes:
>>>>
>>>>In article <1992Aug31.193845.21259@CSD-NewsHost.Stanford.EDU>
spg@Xenon.Stanford.EDU (Stephen P. Guthrie) writes:
>>>>>
>>>>>Anyone heard of the composer Schoeck?
>>
>>[...]  There's at least one opera on CD,
>>_Mass--- Don---_, fragments of whose title are all I have to offer. 
>
>"Massimilla Doni" with Edith Mathis, on Schwann Musica Mundi.
>
>-Margaret
>
>
Just by chance I have the Gramophone Classical Catalogue at
my office. Here's a list of available recordings of

Othmar Schoeck (1886-1957)

Novalis 150 070-2:
	Concerto quasi una fantasia - violin & orc. op21 (1911-12)
	Serenade for small orch, op.1  (1906-7)
	Suite in A-flat, string orch. op. 59  (1945)
		Ulf Hoelscher - violin
		English C.O.
		H. Griffiths

Claves CD50-8502
	Concerto for Cello and Orch. a-minor, op. 61  (1947)
	Sommernacht, string orch. op. 58  (1945)
		J.Goritzki - cello / conductor
		Neusse German Chbr. Acad.

Claves CD50-8908
	Sonata for cello and piano (1957)
		J. Goritzki - cello
		D. Levine - piano

Claves CD50-8907
	An meine Mutter - Lied op.14.1     (1907)
	Das Bescheidene Wnschlein - Lied op.24a.7      (1910-14)
	Nachruf - Lied op.20.14 (1905-14)
		Ernst Haefliger - baryton
		H. Klust - piano

Claves CD50-8910
	Das stille leuchten - song cyklus op. 60      (1946)
		D. Fischer-Dieskau - baryton
		H. Hll - piano

Claves CD50-8606
	Unter Sternen - song cyklus op.55     (1941-2)
		D. Fischer-Dieskau - baryton
		H. Hll - piano		

Meridian E77130
	Notturno - baryton and string quartet op. 47     (1913-33)
		I. Caddy - baryton
		Bochmann quartet

Schwann 314025
	Massimilla Doni - opera       (1937)
		Cologne Radio Chorus
		Cologne RSO
		G.Albrecht


Of the above works I have only heard the violin concerto (a long time
ago) which I seem to remember as fairly romantic, and quite beautiful.




Terje Rydland
Newsgroups: rec.music.classical
From: ucap22w@ucl.ac.uk (Martin S T Watts)
Newsgroups: rec.music.classical
Subject: Teldec
Date: 9 Sep 92 11:08:32 GMT
Organization: Bloomsbury Computing Consortium

I'd be very grateful if somebody could tell me who the UK distributor for
Teldec is, and provide an address and phone no. if possible. I've discovered
a manufacturing fault in one of their c.d.s which I bought a while back (having
replaced it once already at the shop for a different fault) but, so far, haven't
been able to track them down over here. E-mail would be fine if anybody can 
help.

Cheers,
Martin Watts.
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: Martinon 
Organization: Morgan Stanley & Co., New York, NY
Date: Mon, 14 Sep 1992 23:57:42 GMT

In article <1992Sep14.214642.15116@Princeton.EDU> mikulska@crux.Princeton.EDU (Margaret Mikulska) writes:
>In article <1992Sep14.193554.25208@fid.morgan.com> steve@fid.morgan.com (Steve Apter) writes:
>>
>>Martinon's Ravel and Debussy recordings were issued on four individual
>>EMI Studio disks a while back.  The Debussy disks are still available,
>
>There was a series of four CDs on EMI Studio containing orchestral works
>of Debussy - collected orchestral works of Debussy.  No Ravel in this
>series.
>
>Maybe you mean another series of CDs?
>
>-Margaret
>

2 1/2 corrections on one recommendation!  Not wishing to lead Martinonomaniacs
on a wild snipe-hunt through heaps of unalphabetized cut-outs:

	1)  The disks I mentioned are all on EMI, Angel, or illegal
	    Taiwanese lookalikes.

        2)  There are at least four, all featuring music by at least
	    one French Impressionist.
	
	3)  The orchestra is almost certainly NOT the Chicago Symphony.
	    It *may* be the O.R.T.F, which is not Taiwanese.

	4)  There are at least two Ravel disks.

Sift and search, if you care.  Or disregard, and listen to Paray and Munch,
reissues of whose wonderful recordings are beginning to surface on CD.

Facts, facts, all I hear about are facts.  Damn the facts.

Newsgroups: rec.music.classical
From: chenl@cbnewse.cb.att.com (julian.l.chen)
Subject: Re: Learning the lute
Organization: AT&T
Distribution: usa
Date: Mon, 14 Sep 1992 15:21:13 GMT

>I'm one-fouth of a madrigal quartet {"Canterbury Transfer"} in which the
>singers will be augmenting pieces from time to time with instrumental work,
>either accompaniments or embellishments.  As a part-time guitar player, I
>was nominated to become the lute player (lutist?  looter?)  >> HELP!!
>
>Does anyone know or have an opinion on the following:
>
>1) Where to get a lute and what to pay for it?
>

First, I do not play the lute, I am a classical guitarist. From what I
know, lute is very expensive since no mass production lute is available.
You have to buy a handmade instrument. A few private guitar makers make
lute as well as guitars, I believe a custom made lute costs $2000 up.
Richard Brune in Evanston (708)-864-7730 both make and sell lutes, you
may want to give him a call. I also remember there is a lute speciality
shop in California that carries all the lute stuff, but I don't remember
the name now.

>2) How to learn basic skills? (There don't seem to be any study-at-home
>   videotapes like there are for rock 'n' roll guitar.)
>

I don't believe there is anything like that available. Lute is a
professional instrument.

>3) How long should I expect to study/practice before daring to play in 
>   front of an audience?  (E.g., how long does it take to get good?)
>

Don't know but I bet it will be a long while. But if you are already a
very good guitarist, it may help somehow. Ask Richard Brune about a few
names of established lutenists and ask them may be your best staring
point.

>Looking forward to having the world's knowledge (and opinions) poured forth
>on my problem, I remain ...
>
>Your humble servant,
>Robert-the-Bass
Newsgroups: rec.music.classical
From: rwilmer@zinka.mitre.org (R. Wilmer)
Subject: Re: 1600 Pennsylvania Ave., musical flops
Organization: Mitre Corporation, McLean, VA
Date: Thu, 10 Sep 1992 19:29:48 GMT

In article <1992Sep10.034443.3376@timessqr.gc.cuny.edu> kos@cunyvms1.gc.cuny.edu writes:
>... an
>interesting entry in a very worthwhile book, "The Musicals Nobody Came To
>See."  This is a resource book for those interested in doing a show and 
>prefer to stay away from the overly familiar.

Two unsuccessful shows that interest me are ``Carmelina'' by Burton
Lane and ``Rex'' by Richard Rodgers.

I saw ``Carmelina'' beautifully sung by Cesare Siepi and thought there
was some fine music in it, but have never seen a score or recording.

``Rex'' had a good song that I have never been able to find.  I think
it was sung by Anne Boleyn and titled ``Yesterday'' (though I may be
confusing it with the Beatles).

Richard
From: cb@tamarack13.timbuk (Chris Brewster)
Newsgroups: rec.music.classical
Subject: Re: Apollinian & Dionysian Music
Date: 4 Sep 92 19:38:59 GMT
Organization: pubs
In-reply-to: ctaylor@desire.wright.edu's message of 3 Sep 92 13:30:45 EST

Charles S. Taylor writes:

   I ... would like to illustrate to
   my students the difference between Apollinian and Dionysian
   music.  I welcome suggestions.  Perhaps the list should be 
   limited to music Nietzsche might have heard.

Perhaps too obvious: Stravinsky's Apollo for the first, and Rite of
Spring for the second (not of N's time though).  I wonder if "Dionysian"
should imply a wild revel, or merely something free-form and emotional.
For Nietzsche's time, the contrast of Wagner and Brahms suggests itself
except for N's changing views on Wagner.  Another contrast, maybe too
extreme, would be something like Die Kunst der Fuge vs. Symphonie
Fantastique.  At least your students would notice a difference.  :-)

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: jefrank@magnus.acs.ohio-state.edu (Jason E Frank)
Subject: Re: Sibelius 2nd symphony
Organization: The Ohio State University
Date: Sat, 5 Sep 1992 03:24:16 GMT

In article <1992Sep4.223005.14785@magnus.acs.ohio-state.edu> mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis) writes:
>I have to agree with Chris Brewster.  Sibelius' 1st and 2nd symphonius were 
>patterned very much on the 19th century German tradition.... which, you have 
>to admit, makes them very listenable potboilers.  The later symphonies, 
>however, are very different, as Sibelius explored and developed his own 
>idiom.  The 4th is an awesome statement, but not the enjoyable, 
>"understandable" work that the 2nd is.  One of the great listening 
>experiences of my life was hearing Vladimir Ashkenazy conduct the 7th in 
>concert several years back.  The performance was as close to being 
>transcendental as you could wish!

I have to take issue with a couple of points here.  Sibelius' 5th comes
closest to the 2nd (in terms of accessibility and brassiness) than any of
the others (1st included), so I don't think "very different" could really
be applied to the 5th (it IS appropriate for 3,4,6, & 7, however).

I never claimed Sibelius' 2nd to be his best, and have always acknowledged
his 3rd, 4th, and 6th (in that order) as his best, IMHO.  Of course, best
doesn't necessary correspond to favorite--the 2nd is still my favorite
by far, and I am still looking for a recording that lives up to the thought-
provoking, even poetic quality that Mariss Jansons and the Philadelphia
Orchestra brought to the work last summer.  From the responses I've been
getting (which include a few eager thumbs-up for the Blomstedt recording),
I'm probably best off waiting for a Jansons/Oslo recording to come out 
(assuming, or course, that they're doing a full Sibelius cycle--to date,
I've only seen his 1st+Finlandia+Karelia).
--jason


Newsgroups: rec.music.classical
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Mahler's 10th Symphony (Was Re: Beethoven's 10th. Symphony)
Organization: University of Delaware
Distribution: usa
Date: Fri, 11 Sep 1992 13:40:08 GMT

In article <1992Sep11.002948.8607@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:

>The first recording of the *first* Deryck Cooke 'performing version'
>of Mahler's 10th was by the Philadelphia under Ormandy (mid-60s).
>Morris's 1976 NPO recording was of Cooke's revision. The original was
>done with Berthold Goldschmidt, who conducted the first performance in
>1960, the year of the Mahler centenary. The revision was done with the
>help of David and Colin Mathews. This is the version (with their own
>various emendations) recorded by Rattle, Levine (I think maybe his
>Adagio is the Krenek score, it was certainly recorded first), 

No, Levine's Adagio is Cooke, though it was indeed recorded and released
separately first (and analog, rather than digital like the rest).  I
don't think he made any emendations, though Rattle certainly did.

>Chailly
>and - my own favourite (thanks again Rob!) Sanderling. Rattle and
>Sanderling made their own small changes, I'm not sure about the
>others.

Chailly is my own favorite, but I haven't heard Sanderling.  Since I
consider the latter's Brahms symphonies one of the best sets made (and a
real steal these days on Eurodic, about $5 a CD), I will try to remedy
the deficiency soon.  But Chailly (whose version, coupled with
Verklaerte Nacht, London seems already to have deleted) has an
exceptional feel for this period, as demonstrated by his superb
recordings of Das klagende Lied and Gurrelieder.  Chailly, like Levine,
performes "Cooke 2" without emendations.

>Me - I'm convinced. It would have beWkn a masterpiece had Mahler
>finished it. I think it's always worth bearing in mind that Mahler
>*always* revised a work after the first performance(s). He made 3
>versions of the 1st, and was still making small changes to the sixth
>until nearly the end of his life. Das Lied von der Erde and the 9th
>were never performed in his lifetime, so we will never hear his own
>final thoughts on them either.

Cooke says the same in his voluminous notes on his score.  But all we
can do is make the best of what we have, and I'm convinced by Cooke's
choices.  He and Faber (the publisher) have behaved in model fashion in
this respect, reproducing a transcription of Mahler's short score (much
more than the word "sketches" would imply) at the foot of each page, and
providing many pages of endnotes to explain each editorial choice, so we
can judge for ourselves.

And it's also noteworthy that Cooke was always scrupulous to call it "A
*performing version* of Mahler's 10th."  Not a completion, which is
impossible.  Those criticizing his edition in print have not always read
or understood this distinction.

Jon Alan Conrad
From: le01167@portal.lasc.lockheed.com (Ron Nadel (x2025))
Newsgroups: rec.music.classical
Subject: Re: Du Pre recital
Date: 15 Sep 92 18:35:06 GMT
Distribution: usa
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
News-Software: VAX/VMS VNEWS 1.41

In article <1992Sep14.231206.18718@newshost.lanl.gov>, joelb@beta.lanl.gov (Joel R. Berendzen) writes...

>the Elgar with Danny "Shithead" Barenboim accompanying, and displaying all
>his usual sensitivity.

I've always gotten the impression from his recordings that Barenboim was just
an ok conductor and pianist.  But I could never tell that he was a shithead
from his recordings.  What's the poop?  And why did he get to succeed Solti?

Ron
From: maverick@fir.CS.Berkeley.EDU (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Schenkerian analysis
Date: 14 Sep 92 19:41:03 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: fir.cs.berkeley.edu

In article <BEH.92Sep14134054@geech.gnu.ai.mit.edu>, beh@geech.gnu.ai.mit.edu
 (Bruce (really Nancy) Howells) writes:
|> 
|> The Schenkerian "method" was once jokingly explained to me as being derived
|> from the "Three Blind Mice" School of thought as well, however, on a
|> serious level, was described as being more of a way to break down the music
|> to such a point that it was at its most minimal level.

This phrase implies an assumption which I think too many teachers allow their
students to make, with Schenker or any other analysis (and with music or any other
art): that the "analysis" is a version of the work, not an approach to how it does
what it does.  A graph of the phonetic and etymological patterns in "The
Windhover" is not the same as the poem; it's not even a "minimal" version.  It's a
separate construct which might help one to read.  I doubt even Schenker felt he
had isolated something which his subjects (a decimation of the canon worthy almost
of Leavis) would have thought worth doing, in itself -- can anyone better read
fill me in?

	Vance (who wishes he could better remember the anecdote about Schoenberg
reading the analysis of the Eroica and asking where all his favorite passages were)
From: lmeissne@milton.u.washington.edu (Loren Meissner)
Subject: Re: The Ghosts of Versailles
Organization: University of Washington, Seattle
Distribution: na
Date: Thu, 10 Sep 1992 22:14:40 GMT

THE GHOSTS OF VERSAILLES will be seen on most PBS-TV stations next week.
Has anyone SEEN it (not just heard it or read about it)? If so, what
did you think about it?
Is the CD recording out yet?
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: recommandation for good performances of choral works.
Date: 10 Sep 92 05:10:39 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <46963@dscatl.UUCP> I wrote:
>New Your Concert Singers (Judy Clearman) NY

Excuse me...Judy Clurman

(And I may have even spelled THAT wrong!)


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Le Sacre, Stravinski
Organization: Visual
Date: Fri, 11 Sep 92 15:03:57 GMT

>and Montreal is perhaps the most technically proficient
>Symphony Orchestra in the world today. 

I'm a big Dutoit fan, but I heard some time ago (maybe I read
it here) that his recordings with the Montreal Symphony are
basically patchwork affairs, more a tribute to the engineers
than to the orchestra.  

Anybody else heard this?

As for Le Sacre, I think you're all wrong, the best recording
is Muti's.  I like my Rite brutal, pushing the envelope.  Muti's
meets that standard.


Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Mahler's 5th Symphony by Solti and remastering CDs
Organization: Camosun College, Victoria BC, Canada
Distribution: usa
Date: Sun, 6 Sep 1992 02:17:33 GMT

In article <4SEP199209185595@portal.lasc.lockheed.com> le01167@portal.lasc.lockheed.com (Ron Nadel (x2025)) writes:
>In article <1992Sep3.180333.4315@spang.Camosun.BC.CA>, dbarker@spang.Camosun.BC.CA (Deryk Barker) 
[...]
>>Mind you, I did, in a fit of excess zeal for digital
>>recording in the early 80s, buy his Bruckner 5. This has to be one of
>>the worst performances I've ever heard...
>
>Well, that's Bruckner for you...

No - that's Solti.

I guess it's inevitable that we are going to tend to judge any
performer by how impressed we are by their performances of those works
which are closest to us. I am generally underwhelmed by Solti's
Beethoven, Mahler, Bruckner (and Brahms). His Wagner, Strauss and
Gluck may be brilliant - but as they are composers I'm far less
interested in I;m less likely to spend hard-earned money on a
recording of music I'm not crazy about by a performer I'm not crazy
about either. You just can't *hear* everyone's recording of everything
- life is too damned short...

>>Maybe not. Maybe he wouldn't have won so many Emmys either?
>
>I feel the same way about all of Karajan's Grand Prix du Disque
>awards.  For awhile there, almost every one of his recordings of
>the 60s-70s garnered an award, but I wonder if Herb's name was
>left off the cover, if people would have reacted similarly?

I agree entirely.

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

Newsgroups: rec.music.classical