Return-Path: Received: from e4001 ([209.1.28.62]) by s1000e2.webcom.com (Netscape Mail Server v2.02) with SMTP id AAA23599 for ; Fri, 6 Feb 1998 22:57:40 -0800 Received: from eagle.esosoft.net by e4001 (WebCom SMTP 1.1.0) with SMTP id AAAa0002t; Fri Feb 6 22:57:09 1998 -0800 Received: from localhost (eagle@localhost) by eagle.esosoft.net (8.8.5) id XAA04467; Fri, 6 Feb 1998 23:52:33 -0700 (MST) Received: by eagle.esosoft.net (bulk_mailer v1.9); Fri, 6 Feb 1998 23:52:32 -0700 Received: (eagle@localhost) by eagle.esosoft.net (8.8.5) id XAA04460; Fri, 6 Feb 1998 23:52:32 -0700 (MST) Date: Fri, 6 Feb 1998 23:52:32 -0700 (MST) Message-Id: <199802070652.XAA04460@eagle.esosoft.net> From: owner-vinylphiles-digest@Majordomo.net (vinylphiles-digest) To: vinylphiles-digest@Majordomo.net Subject: vinylphiles-digest V1 #36 Reply-To: vinylphiles@Majordomo.net Sender: owner-vinylphiles-digest@Majordomo.net vinylphiles-digest Friday, February 6 1998 Volume 01 : Number 036 In this issue: [VPs] mono [billp@i1.net (Bill Poletti)] Re: [VPs] String Quartets [nviclassical@postoffice.att.net] Re: [VPs] mono ["Jack D. Hill" ] [VPs] RE: string quartets and other chamber things ["Nitiss, John " ] [VPs] Quartets/Trios [Charles Cabello ] Re: [VPs] Calling Mono lovers [Robert Cohen ] Re: [VPs] String Quartets [Robert Greene ] Re: [VPs] Calling Mono lovers ["Michael Biel mbiel@kih.net" ] Re: Glenn Gould (Was Re: [VPs] String Quartets) [Karavan ] [VPs] Free Day Friday, was Re: Glenn Gould, etc. [Lanny Chambers ] ---------------------------------------------------------------------- Date: Fri, 6 Feb 1998 06:59:20 -0600 (CST) From: billp@i1.net (Bill Poletti) Subject: [VPs] mono Hi Larry, Hope you are well. If you would like to try a much better than average mono line of recordings, try some of the Mercury Living Presence, especially the Firebird. This will not only give you a perspective on the best of mono recordings, it will also provide a comparison between those mixed-down on mono, and those mixed-down and pressed out in stereo. There are a lot of Londons that are available on both stereo and mono. Worth a try? A nice feature of this option is that there are a lot of Mercs out there going for next to nothing due to the demand for stereo and lack of demand for mono. Bill ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 07:44:47 +0000 From: nviclassical@postoffice.att.net Subject: Re: [VPs] String Quartets Carl Pultz writes: > Dubinsky wrote a memoir, published in 1989 by Hill and Wang, titled Stormy > Applause, Making Music in a Worker's State. Illuminating and frightening, his > account of cultural politics and the unbelievable pressures he and his > colleagues endured make the achievements of the Borodin Quartet all the more > remarkable. Thanks for the tip on Dubinsky's memior. I've ordered a copy from amazon.com (special order, hopefully I'll get it!). I enjoy reading books about music and musicians as much as listening to it. This will be particularly interesting after reading "The Devil's Music Master," an account of Furtwangler's travails under the Nazi regime. Of course, Furtwanger brought many of his problems on himself with his naive belief that he could seperate music and politics. I also just finished "Glenn Gould: the Ectasy and Tragedy of Genius," a new biography by the recently deceased psychiatrist/violinist friend of Gould's, Peter Ostwald. Ostwald writes from a psychological perspective and analyzes Gould's behavior in light of his psychological problems. Although the author divulges that Gould suffered from Aspergers Disorder, a high-functioning form of autism, he never explains any of Gould's strange behavior in light of his disability. When I listened to Gould's strange performance of the Mozart Sonatas on Columbia (vinyl of course), I felt as if his dislike of Mozart (Gould said Mozart would have been better off if he had died before he discovered opera) was certainly apparent and that although he was pressured to play Mozart, he was going to play it *his* way (totally egocentric) and he was not going to touch the pedals. :-) Gould was very much attached to certain objects and played with the same chair all of his career -- even though the cushioning had fallen out -- and many people had offered to have a new chair made for him. He found live performances excrutiating and had problems maintaining any sort of relationships with people in his life. All of these behaviors are consistent with autism, and why the author missed this connection is beyond me. Nonetheless, the book made for a great read. Cheers, Susan ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 10:22:00 -0500 From: "Jack D. Hill" Subject: Re: [VPs] mono Bill Poletti wrote: > If you would like to try a much better than average mono line of recordings, > try some of the Mercury Living Presence, especially the Firebird. This will > not only give you a perspective on the best of mono recordings, it will also > provide a comparison between those mixed-down on mono, and those mixed-down > and pressed out in stereo. Just to make sure no one misunderstands - Mercury did not "mix down" their stereo masters for mono pressing. The center mic was used not only for "center fill" in their stereo recordings but was also used to make their mono recordings. Jack ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 11:51:39 -0600 From: "Nitiss, John " Subject: [VPs] RE: string quartets and other chamber things I recently listened to the Istomin/Rose/Stern trio set of the Beethoven Piano trios and was very impressed. It seems to me to be chamber music making in the best sense. Comments on other work by this trio? Also, what do others in the list like for the Haydn string quartets? I have enjoyed the Tatrai quartet. Any other suggestions? Finally, I was sad to hear on Performance Today of the death of Margaret Hillis. She was the long time director of the Chicago Symphony choir. Her tenure goes back to the time of Reiner (she directed the choir for Reiner's recording of the Beethoven 9th symphony, I believe). ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 10:50:16 -0800 (PST) From: Robert Greene Subject: Re: [VPs] mono True indeed about the Mercury monos and the one microphone. But an important feature of this situation is that if you want to hear ultimate purist sound you should listen with one speaker!(Turn the balance control all the way to one channel or the other). Stereo is really wrong,although it can be charmingly wrong, and one mike one speaker mono has a kind of convincingness that no other form of reproduction(of music) can match. Try it out! I wrote up some theory and other observations on this in TAS a while back--issue 99 as I recall in my "For/On the record" column. Most of the regard for old sound(as opposed to for old musicians) is just nostalgia. This is not. This is real. Try it out. Have fun,Robert ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 10:56:21 -0800 From: Charles Cabello Subject: [VPs] Quartets/Trios On 2/6 John Nitiss wrote: > I recently listened to the Istomin/Rose/Stern trio set of the >Beethoven Piano trios and was very impressed. It seems to me to be >chamber music making in the best sense. Comments on other work by this >trio? > Yes, yes, yes!!! Could not agree more. Superb players/playing. Try Brahms Trios for Piano, Violin & Cello - Columbia M2S 760 (2 lp's - '360' is original label). I've waxed effusive over this recording elsewhere and despite mediocre sonics it remains a favored chamber work. c. ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 16:39:40 -0800 From: Robert Cohen Subject: Re: [VPs] Calling Mono lovers nviclassical@postoffice.att.net wrote: > > Bob Cohen writes: > > > Remington's are rare, and quite valuable if you find the solo and > > concerto performances by violinists, but the sound and pressing quality > > are execrable. Why would anyone want to collect this awful sounding > > stuff? Whenever I acquire old Remingtons, I send them off to my > > favorite classical record dealer, who usually pays me handsomely for > > them. Not that I find very many, particualarly in playable condition. > > Many people find the historical significance of some of the Remingtons enough > in itself to collect them. Albert Spalding was an infintely interesting > character as well as a violinist. He not only was heir to the Spalding > Sporting merchandising fortune, but a bone fide spy as well. He worked for > U.S. military intelligence in both world wars. > > His mastery of the Brahms Hungarian Dances prompted the goverment of Hungary to > make him an honorary citizen. His Beethoven Kreutzer Sonata (on Allegro) is > fabulous. > Cheers, > > Susan > Susan, Absolutely fascinating. My business is in Springfield, Massachusetts, and we do business with Spalding Sporting Goods. Where can I read more about Albert Spalding? Bob Cohen ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 14:45:17 -0500 From: Bruce Kinch Subject: Re: [VPs] String Quartets >From: nviclassical@postoffice.att.net >Carl Pultz writes: > >I also just finished "Glenn Gould: the Ectasy and Tragedy of Genius," a new >biography by the recently deceased psychiatrist/violinist friend of Gould's, >Peter Ostwald. Ostwald writes from a psychological perspective and analyzes >Gould's behavior in light of his psychological problems. Although the author >divulges that Gould suffered from Aspergers Disorder, a high-functioning form >of autism, he never explains any of Gould's strange behavior in light of his >disability. I recently rented "32 Short Films about Glenn Gould" to play something other than explosions on our re-configured "Home Theater" rig. Laura and I looked at each other at the end and said "Aspberger's!"-we have a family member so afflicted-although the film presented Gould as a mere eccentric. Aspberger's Syndrome is actually a fairly broad diagnosis. It may have a lot of behavioral similarities to obsessive-compulsive disorder (OCD) as well as to autism, and often occurs with "compensatory" talents such as mathematics or music. Gould's preference for accepting interviews only by telephone-and his dislike for live performance-are characteristic AS traits as well, as normal social interactions are often total mysteries to AS folk, and must be learned by rote. Gould's fondness for Bach's polyphony and his own sound-collage productions for the CBC also recall AS attention/background noise difficulties. I'll have to get the Ostwald book. Your comments on Gould's Mozart are all the more interesting as Wolfie might well have been AS himself. Btw, AS people love the Internet and its detached familiarity of discourse-maybe a keyboard is a keyboard is a keyboard. For more on AS, I highly recommend Oliver Sacks' "An Anthropologist on Mars", esp. the section on Temple Grandin. Bruce C. Kinch Editor Primyl Vinyl Exchange The Audiophile Record Collectors Newsletter ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 12:57:21 -0800 (PST) From: Robert Greene Subject: Re: [VPs] String Quartets What brought forth the idea that Mozart had trouble along the lines of Gould with normal social interaction? Actually Mozart was 1married and 2 had lots of friends and 3 did rather well considering the circumstances with persuading various people with power and money to give him some(although not as much as they should have) . This does not add up to my mind to a picture of social maladjustment anything like that of Gould. (Actually a lot of the things Gould said about the life of a touring pro are true--not a sign of any kind of maladjustment. But then Americans have always had a lot of trouble with the idea of big talent or of genius. They always to explain it away, as if some people being really good at things was somehow undemocratic. I think Gould's main syndrome was being a lot more gifted than most people,although I have to admit that his personal life was a bit strange--in its nonexistence.) But Mozart? There have always been these strange theories. Another one that was trendy a while back was that Mozart suffered from some sort of premature aging syndrome which was supposed to explain his precocity. Of course that one was based on complete ignorance of the careers of music prodigies as a whole. Mozart was pretty much like the rest, except more so than most. REG ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 17:21:18 -0500 From: "Michael Biel mbiel@kih.net" Subject: Re: [VPs] Calling Mono lovers Roy Evans wrote: > Then there are the true hardcore mono lovers who at the mere > thought of a question like this, start qvelling over their > shelf load of 10" LPs. (Can I go home soon, Doctor?) I think Roy might be talking about me because he might remember from when I lived near him that I have about 10 or so shelf-feet of 10-inch LPs--maybe 700-800 items. They were the top shelf of a wall of LPs in the upstairs apartment there. But a few of the 10-inchers are stereo. (When I lived in the Chicago area in 68-72 I used to find them at rummage sales by the armful.) > Remingtons? LOVE em. I can get them to play just swell on > my equipment. Send em on. I'll take em ALL!!!!!!! Roy Evans But they are so variable. I have two copies of Enescu conducting the 1st Rumanian Rhapsody. The one that looks new sounds dreadful--like it was mastered mic-to-speaker. The one that looks like it had been used as a frisbee with a dog is magnificant between the scratches. Mike Biel, Ph.D. (You can go home soon, Roy.) mbiel@kih.net ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 19:07:52 EST From: AnnaLogg@aol.com Subject: Glenn Gould (Was Re: [VPs] String Quartets) In a message dated 98-02-06 15:58:48 EST, greene@math.ucla.edu writes: > (Actually a lot of the things Gould said about > the life of a touring pro are true--not a sign of any kind of > maladjustment. But then Americans have always had a lot of trouble > with the idea of big talent or of genius. They always to explain > it away, as if some people being really good at things was somehow > undemocratic. I think Gould's main syndrome was being a lot more > gifted than most people,although I have to admit that his > personal life was a bit strange--in its nonexistence.) The cover notes (compiled by Gould himself) of Gould's recording of the Liszt transcription of Beethoven's 5th Symphony (Columbia MS 7095) include an article from "Insight," the digest of the North Dakota Psychiatrists Association, written by S. F. Lemming, M.D., as follows (and word for word, so help me): "Paul D. Hicks, in his recent much-reviewed study "The Unconscious and Career Motivation," notes that most of us in middle life supress occupational stimuli that, if indulged, would necessitate redirecting ambition-patterns. Among the upper-income stratum in American life, Hicks points out, this tendency is sometimes menopausally motivated, but more frequently, and especialy among those active in the professions, it involves the reaffirmation of traumatic associations deriving from childhood resentment pertaining to the intrusion of school discipline upon the parental security pattern. As J. H. Tidy pointed out in his review (March Insight) of Hicks' work, much more study will be required before any consensus can be attained. Nevertheless, with the kind co-operation of Columbia Records' medical staff, your correspondent was able to attend last January several recording sessions in New York City which provided source material for the present analysis. The musical artist involved was Canadian (Hicks recognized no latitudinal differentiation), mid-thirties (the apex of career contradiction, Hicks points out, is attained prior to the fortieth year), male (Hicks commented that, in the female, disorientation is less pronounced and is in many cases a by- product of resentment associated with incipient grantmother status), and appeared to be possessed of average energy quotients (the sessions usually consisted of two three-hour segments separated by a one-hour dinner break and the work being performed appeared to be of average difficulty). As recording ensued, however, it became evident that career-disorientation was a major factor. The work selected by the artist was, in fact, intended for symphony orchestra and the artist's choice clearly reflected a desire to assume the authoritarian role of conductor. The ego gratification of this role being denied by a lack of orchestral personnel, the artist delegated the record's producer and engineers as surrogates and, in the course of the session, attempted to demonstrate approval or disapproval of various musical niceties by gesticulating vigorously and in a conductor-like manner. He developed increasingly laconic speech patterns as the sessions progressed (Hicks points out that mutism is frequently, though not invariably, a concomitant) and endeavored to telegraph his desires to the control room by the employment of broad, cue-like gestures. The most impressive evidence deriving from these sessions however pertained to the escalatory aspects of Hicks' theory. While leaving the studio upon the conclusion of his assignment the artist was overheard singing various melodies from a composition identified by the producer as having been written by an Austrian composer, Malherr [sic], and which evidently necessitates substantial choral as well as instrumental forces." He seems to have left out, "runs with scissors." :-) Best, Anna p.s. I personally find Gould's performances arresting and staggeringly powerful. ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 16:21:01 -0800 (PST) From: Robert Greene Subject: Re: Glenn Gould (Was Re: [VPs] String Quartets) I agree about GG's performances--and he also had a great sense of humor! Robert PS His Siegfried Idyll is worth getting and then some(even if you have to sully yourself by buying a CD) R ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 19:55:13 -0500 From: drlarry Subject: Re: Glenn Gould (Was Re: [VPs] String Quartets) Hi Folks: You have stumbled upon my field of expertise. I would like to point out to all of you the works of R.D. Laing, a British psychiatrist who maintained that mental illness was merely (take this with a grain of salt folks) another, equally valid interpretation of reality. I have been a director of an analytic institute. It has occurred to me that anyone (I keep company with Anna Freud here) who truly understands the human condition , can communicate it in plain everyday English! This is eloquently portrayed here( it doesn't happen). Gould, for whatever one may interpret "what" he was, was a musical genius. we still don't understand what constitutes the mechanism of genius. The statement that he was autistic contradicts the definition. Sometimes we try to label what we cannot understand. Perhaps it would be best to experience what is not totally conprehensible, rather than try to define it. I try to understand my patients, not define them. Let us enjoy and understand Gould's art. Not what he was. What he was ...was unique. 'nuff said. Dr. Larry Brotzen AnnaLogg@aol.com wrote: > In a message dated 98-02-06 15:58:48 EST, greene@math.ucla.edu writes: > > > (Actually a lot of the things Gould said about > > the life of a touring pro are true--not a sign of any kind of > > maladjustment. But then Americans have always had a lot of trouble > > with the idea of big talent or of genius. They always to explain > > it away, as if some people being really good at things was somehow > > undemocratic. I think Gould's main syndrome was being a lot more > > gifted than most people,although I have to admit that his > > personal life was a bit strange--in its nonexistence.) > > The cover notes (compiled by Gould himself) of Gould's recording of the Liszt > transcription of Beethoven's 5th Symphony (Columbia MS 7095) include an > article from "Insight," the digest of the North Dakota Psychiatrists > Association, written by S. F. Lemming, M.D., as follows (and word for word, so > help me): > > "Paul D. Hicks, in his recent much-reviewed study "The Unconscious and Career > Motivation," notes that most of us in middle life supress occupational stimuli > that, if indulged, would necessitate redirecting ambition-patterns. Among the > upper-income stratum in American life, Hicks points out, this tendency is > sometimes menopausally motivated, but more frequently, and especialy among > those active in the professions, it involves the reaffirmation of traumatic > associations deriving from childhood resentment pertaining to the intrusion of > school discipline upon the parental security pattern. As J. H. Tidy pointed > out in his review (March Insight) of Hicks' work, much more study will be > required before any consensus can be attained. > > Nevertheless, with the kind co-operation of Columbia Records' medical staff, > your correspondent was able to attend last January several recording sessions > in New York City which provided source material for the present analysis. The > musical artist involved was Canadian (Hicks recognized no latitudinal > differentiation), mid-thirties (the apex of career contradiction, Hicks points > out, is attained prior to the fortieth year), male (Hicks commented that, in > the female, disorientation is less pronounced and is in many cases a by- > product of resentment associated with incipient grantmother status), and > appeared to be possessed of average energy quotients (the sessions usually > consisted of two three-hour segments separated by a one-hour dinner break and > the work being performed appeared to be of average difficulty). > > As recording ensued, however, it became evident that career-disorientation was > a major factor. The work selected by the artist was, in fact, intended for > symphony orchestra and the artist's choice clearly reflected a desire to > assume the authoritarian role of conductor. The ego gratification of this role > being denied by a lack of orchestral personnel, the artist delegated the > record's producer and engineers as surrogates and, in the course of the > session, attempted to demonstrate approval or disapproval of various musical > niceties by gesticulating vigorously and in a conductor-like manner. He > developed increasingly laconic speech patterns as the sessions progressed > (Hicks points out that mutism is frequently, though not invariably, a > concomitant) and endeavored to telegraph his desires to the control room by > the employment of broad, cue-like gestures. > > The most impressive evidence deriving from these sessions however pertained to > the escalatory aspects of Hicks' theory. While leaving the studio upon the > conclusion of his assignment the artist was overheard singing various melodies > from a composition identified by the producer as having been written by an > Austrian composer, Malherr [sic], and which evidently necessitates substantial > choral as well as instrumental forces." > > He seems to have left out, "runs with scissors." :-) > > Best, > Anna > > p.s. I personally find Gould's performances arresting and staggeringly > powerful. > ========================== > > To(Un)Subscribe, send email to: Majordomo@Majordomo.net > with a message in the body: > subscribe vinylphiles > or unsubscribe vinylphiles > Substitute vinylphiles-digest for vinylphiles if you wish the digest. > Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 19:56:45 EST From: AnnaLogg@aol.com Subject: Re: Glenn Gould (Was Re: [VPs] String Quartets) In a message dated 98-02-06 19:41:28 EST, greene@math.ucla.edu writes: > I agree about GG's performances--and he also had a great sense of humor! Reading these cover notes was my first insight into that, yes! The other articles included (from publications around the world) are equally droll. > PS His Siegfried Idyll is worth getting and then some(even if you > have to sully yourself by buying a CD) I'll bet! Another favorite of mine is his recording of the Beethoven Moonlight and Appasionata sonatas, my reaction to which is not fit to print outside of an adults-only website..... (And one of these days do indeed plan to buy a CD player and begin a collection of the immortal performances available thereon.....) Best, Anna ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 17:09:29 -0800 (PST) From: Robert Greene Subject: Re: Glenn Gould (Was Re: [VPs] String Quartets) You are teasing about not having a CD player are n't you? The one thing that to my mind emerges very strongly from this group is that while everyone may love vinyl,they love music more and especially great music from the past. But there is far easier and more consistent access to this on CD than on old vinyl ,which is obtainable only erratically--although the search is fun, nicht wahr? Ironically it is the violinists --where vinyl collecting is at its most intense--who are among the most readily available on CD. Check it out... Robert ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 20:13:55 EST From: AnnaLogg@aol.com Subject: Re: Glenn Gould (Was Re: [VPs] String Quartets) In a message dated 98-02-06 20:11:16 EST, you write: > You are teasing about not having a CD player are n't you? > Absolutely not. I am probably the last person on earth who doesn't, but there it is.... my awful secret. (I didn't call myself anna logg for nuthin' you know....) :-] Anna ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 18:16:09 -0800 From: James McClanahan Subject: Re: [VPs] RE: string quartets and other chamber things John wrote: > Also, what do others in the list like for the Haydn string > quartets? I have enjoyed the Tatrai quartet. Any other suggestions? I really don't think you can go wrong with the Tatrais, albeit CDs are the medium you will find them on most readily. If you are interested in some original instrument readings, I would recommend the Salomon Quartet on Hyperion (CDs again, sorry) in recordings of the Op. 71 and 74 quartets. Excellent playing and excellent sound. Regards, Jim ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 1998 22:26:03 -0500 From: Roy Evans <75304.35@compuserve.com> Subject: Re: [VPs] Calling Mono lovers Actually, Dr. Biel has confused his reality with my own. Since having moved away, he is not aware of the large increase in my own 10" lp mono holdings. I confess that he and should see if we can get a group rate on straight jackets regarding this issue. Although a long time friend, I would not deign to insult him long distance. (We have enjoyed this ritual in past at close quarters.) Actually, Mike, there is something so compact and friendly about listening to even something terrible on 10" lp. (It's over sooner.) Particularly, that provides a nice segue into the subject matter of Remingtons, the records that everyone loves to hate, hates to love, and then quietly pays big bucks for the ones they simply must have. I, on the other hand, say that nowhere else would one find such gems as Frieda Valenzi (apparently one Etelka Freund in real life-cheers to Tom for that!) playing Le Tombeau de Couperin with the Everlasts laced up. It is nonetheless charming in its "go for brokeness". Furthermore, how can anyone deny the well-known 5-alarm Michele Auclair Tchaikowsky Violin Concerto. I would like to start a rumour about her. It is fact that her Strad disappeared after her death. I contend, it spontaneously combusted. As far as the Remington surfaces and sonics, WHO CARES!!!!! They elevate coolness to a new level (performance-wise) and cheesiness as well (sonics-wise) but I am eternally grateful to Mr. and Mrs. Remington for the birth of their child. Remingtons actually did elevate themselves to high performance values for minutes at a time. But for,.... we wouldn't have some of the music we have. (Thanks Doctor, I feel much better now.) Roy Evans, (almost) J.D. ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 23:32:13 -0500 From: Karavan Subject: Re: Glenn Gould (Was Re: [VPs] String Quartets) drlarry wrote: > Hi Folks: > > You have stumbled upon my field of expertise. I would like to point > out to all of > you the works of R.D. Laing, a British psychiatrist who maintained > that mental > illness was merely (take this with a grain of salt folks) another, > equally valid > interpretation of reality. Here's an almost totally useless bit of information (working from memory): On Gentle Giant's album Octopus is a song, "Knots" inspired by the above-mentioned R.D.Laing. Aren't you glad you know? -George ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 23:34:18 -0500 From: Karavan Subject: Re: Glenn Gould (Was Re: [VPs] String Quartets) Robert Greene wrote: > You are teasing about not having a CD player are n't you? > The one thing that to my mind emerges very strongly from this > group is that while everyone may love vinyl,they love music > more and especially great music from the past. But there is > far easier and more consistent access to this on CD than > on old vinyl ,which is obtainable only erratically--although > the search is fun, nicht wahr? I don't have a CD player, and I would wager that a few otherson this list are in the same laser-free boat. I have yet to enjoy music played by one of those infernal contraptions. -George ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 23:51:57 -0500 From: Karavan Subject: Re: [VPs] Ooops! nviclassical@postoffice.att.net wrote: > Sorry VPs, > > Reiner and the Robin Hood Dell Orch recorded for Columbia! > > Susan What about RCA LM-126, Rach:Rhapsody with Kapell/Reiner/and the Dell?? (It's a 10"). - George ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 6 Feb 98 23:24:53 -0600 From: Lanny Chambers Subject: [VPs] Free Day Friday, was Re: Glenn Gould, etc. On 2/6/98 22:34, Karavan orthodox@bellatlantic.net wrote: >I don't have a CD player, and I would wager that a few otherson this >list are in the same laser-free boat. I have yet to enjoy >music played by one of those infernal contraptions. -George The constant nagging of certain vinylphiles members notwithstanding, I delayed getting into CD for years, with great success. However, when the Living Presence CDs came out, I decided it was time to buy a player (so I could hear them, right?) rather than wait for a million years in hopes that all those tasty performances would find their way onto my shelves in stereo LP format. So I bought a Rotel 855, just before it became a rave item in the mags. It was the only unit I could afford that didn't give me splitting headaches inside of 10 minutes, and it conveniently removes most of the digital artifacts...along with a bit of the music, alas, but IMHO subtractive error is better than the reverse, in digital. Let's call it moderately musical, and a decent value at the time, for someone with no intention of amassing hordes of seedies. I will admit to having enjoyed many of those great Mercury sessions on CD, although I'm not sure I'd say the same today, given the intervening quantum increase in my system's resolution. The A/D gap is still widening. In time, when I ran out of electrical outlets, the CD box got unplugged to make room for something else (I don't recall what). That was months and months ago. It's still unplugged. Wonder if it still works? Nahhh... Lanny Chambers (lanny@derived.com) St. Louis, USA Visit the Hummingbird Page: ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 20:25:22 -0800 From: Saul Sokolsky Subject: Re: [VPs] secrets of "real world" speaker design Lanny Chambers wrote: > OK, I'll spill the beans: the KEFs in Susan's living room, and some > Nesterovics at Underground Sound. I actually preferred the KEFs in many > ways. I'm sorry that my first communication to vinylphiles has a somewhat negative tone, but I feel I must respond to Lanny's description of the Nestorovic (note the spelling) speakers. I begin by admitting that I'm biased, since I have owned Nestorovic speakers for about eighteen years and, more than ever, believe them to be among the world's most natural sounding speakers. I was struck by Lanny's comment about the lack of high-end, low-end and detail. The speakers use a built-in two driver subwoofer (a design patented by Mr Nestorovic) and a leaf tweeter with flat response to beyond 60 kHz. Indeed, Mr Nestorovic includes a switch on the rear of the speaker which helps the listener adjust the speaker's very powerful low-end to the listening room's acoustics. A second switch permits the user to attenuate the tweeter in two-2 dB steps, again to help in tuning the speaker to its surroundings or to the listener's own perception of accurate sound. But I am particularly surprised by the lack of detail Lanny heard at Underground Sound, since the speakers are very dynamic, almost to the point of sometimes being accused of being "analytical", i.e., too much detail. I have never been to Underground Sound and therefore cannot comment on George Merrill's electrical and physical setup. But I wish it were possible for Susan to bring her KEF's over to George's store, where they can be placed in the same system being used for the Nestorovics. In that way, listeners would be able to make a sound (ouch!) judgment of the similarities and differences between the two speaker systems. Saul ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ Date: Fri, 06 Feb 1998 22:47:49 -0800 From: Saul Sokolsky Subject: [VPs] Scherchen Again I hestitated before writing this e-mail because of the nature of this group, but since there seems to be so much interest in Hermann Scherchen, I thought I would chance it. Some of you may not be aware that Hermann Scherchen's daughter runs a record company based in Paris called Tahra Records. So far as I am aware, their releases are only on CD's. Their mission is to make available performances by great conductors of the past in carefully remastered versions, some of which are quite extraordinary. As of Feb 97 there were eleven albums of music conducted by Scherchen, some with one CD and one with 5 CD's. Included are performances of Bach's Art of the Fugue, Tchaikovsky's Pathetique, Mahler's 3rd, 6th, 8th and a fragment of the 10th, several Mozart symphonies, etc. The importer is Jem Music in New York. You can see Jem's complete classical CD catalog (one year out-of-date) at . It seems to me that many of the Scherchen performances available on Tahra never appeared on Westminster. Saul ========================== To(Un)Subscribe, send email to: Majordomo@Majordomo.net with a message in the body: subscribe vinylphiles or unsubscribe vinylphiles Substitute vinylphiles-digest for vinylphiles if you wish the digest. Vinylphiles Homepage http://www.geocities.com/Paris/Metro/9337/ ------------------------------ End of vinylphiles-digest V1 #36 ********************************