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BachJS · The discussion group about the life of Johann Sebastian Bach, his music as well as the available recordings.

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  • Members: 63
  • Category: Classical
  • Founded: Mar 5, 1999
  • Language: English
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#389 From: "Juozas Rimas" <JuozasRimas@...>
Date: Wed May 2, 2001 9:18 pm
Subject: BWV1079 - Musical Offering - What are the parts?
JuozasRimas@...
Send Email Send Email
 
Hello. I'd be extremely grateful for the FULL list of all parts of
the Musical Offering. I thought there were 16 parts before (I have a
CD with 16 tracks) but now it seems there are more in fact??

Have you heard CANON A 7 or CANON DUPLEX, for example?

Juozas Rimas Jr
http://mp3.com/JuozasRimas - Baroque and more...

#390 From: TeriNoelTowe@...
Date: Sun May 13, 2001 8:46 am
Subject: Recordings: Bach Stylishly Performed on Both Flute and Lute
TeriNoelTowe@...
Send Email Send Email
 
Click here: Recordings: Bach Stylishly Performed on Both Flute and Lute

From this morning's New York Times:

May 13, 2001



Recordings: Bach Stylishly Performed on Both Flute and Lute


By DAVID MERMELSTEIN




ACH: WORKS WITH FLUTE

Emmanuel Pahud, flutist; Berlin Baroque Soloists, directed by Rainer
Kussmaul. EMI Classics 7243 5 57111 2; CD.


With the death of Jean-Pierre Rampal and the waning of James Galway, Emmanuel
Pahud is poised to become the world's premier flutist. It is a distinction he
deserves, for Mr. Pahud, who was born in Geneva and was for eight years the
principal flutist of the Berlin Philharmonic, is a gifted artist.
His latest record is devoted entirely to Bach. Although the composer's Fifth
"Brandenburg" Concerto is more generally used as a star vehicle by keyboard
players, it affords the flutist a substantial showcase. And Mr. Pahud makes
this ensemble piece work for him, neither hogging nor ignoring the spotlight.
Unfortunately, exceptionally fast tempos erase many of the performance's
virtues.
The Trio Sonata in G (BWV 1038) suffers no such excesses. Even-tempered
speeds prevail, and the flute stands in handsome relief to the string
instruments surrounding it.
But this CD's real prize is the unaccompanied Partita in A minor (BWV 1013).
Here, one can appreciate fully the flutist's virtues: musical grace,
technical assurance and, most striking of all, a tone at once plangent and
warm.
Bach's stately Orchestral Suite No. 2 closes the disc. As in the
"Brandenburg," the flute suddenly seems more prominent than memory would
suggest. Is this some studio trick? Perhaps, though it's more likely that Mr.
Pahud's talent is simply shining through. DAVID MERMELSTEIN



BACH: LUTE WORKS

Rolf Lislevand, lutenist. Astrée Naïve E8807; CD.


Bach's lute suites have always been the crown jewels of both the guitar and
the lute repertories, mainly because whatever other treasures those
repertories offer, there is precious little original music for guitar or lute
by composers of Bach's stature. That said, "original music" requires an
asterisk or two. Guitarists have little choice but to play the music in
transcription, since the translation from the Baroque lute to the modern
guitar means a compression of both range and textural possibilities.
Still, this is Bach, and Bach freely transcribed his works. So even at the
height of authenticity mania, guitarists were able to make a case for their
versions, which, at best (in the hands of players like John Williams or Eliot
Fisk), were endowed with a visceral power that the lighter- voiced lute could
not match.
Lutenists, of course, could claim a more direct line to the timbres and
textures Bach knew. But they couldn't be too smug. The existing manuscripts
posed problems even for them, not the least being Bach's penchant for writing
outside the range (or what we think was the range) of the 13-course Baroque
lute. In particular, Bach called for bass lines that descended below the
instrument's lowest open string.
Rolf Lislevand, a Norwegian lutenist who has performed with Jordi Savall's
various ensembles (including Hespérion XX, Capella Reial de Catalunya and
Concert des Nations), catalogs a number of these transgressions in his notes
for the disc (called "Intavolatura"). He does this not so much to suggest
that Bach didn't really know his way around the lute — he says as much
directly — as to argue the case for using versions of the works by Bach's
lutenist contemporaries Christian Weyrauch and Adam Falkenhagen.
Even so, Mr. Lislevand seems to have mixed feelings about Wey rauch's and
Falkenhagen's versions. On the bright side, there is something to be said for
editions by players who knew Bach as well as the lute and the performance
style of the day, and who, unlike modern editors, are uninfluenced by 250
years of accrued (and constantly changing) traditions of Bach interpretation.
Mostly, Mr. Lislevand writes approvingly of those players' solutions to the
technical problems in the Bach originals. But he scorns a few of their
decisions, including the use of flourishes soon to become unfashionable, and
the omission of the Fugue and Double movements from the Suite in C minor (BWV
997).
For a listener, the complaint about flourishes seems trivial (not, as Mr.
Lislevand puts it, "almost unforgivable"): aren't written versions of Baroque
performers' tricks what period-instrument specialists dream about? The
dropped movements, though, are more serious, and anyone used to hearing these
suites in their entirety will miss them. Might Mr. Lislevand not have grafted
in Bach's versions for the sake of completeness?
That aside, he offers lovely performances of the Suites in C minor, G minor
(BWV 995) and E (BWV 1006a), and the Fugue in G minor (BWV 1000). His sound
is sonorous but also tactile, and it shows the degree to which delicacy and
muscularity coexist in these works. Admirable, too, are the transparency Mr.
Lislevand brings to Bach's counterpoint and his taste in ornamentation:
free-fingered at cadence points and in dance movements, more restrained,
sensibly, in the G minor Fugue. ALLAN KOZINN




#391 From: TeriNoelTowe@...
Date: Tue May 15, 2001 12:58 am
Subject: Fwd: [Fwd: Tower Records - Bad news]
TeriNoelTowe@...
Send Email Send Email
 
The news item that my good friend John Bell Young forwarded to me earlier
today is indeed distressing news, because its implications are potentially
devastating to the small, independent labels and distributors on whom so many
of us rely for new recordings of important but allegedly "marginal" material
and for reissues of classic recordings of the past.  

Since I received this late on Monday afternoon I have communicated with
longtime friends who are either principals in important "independent" labels
or legal counsel to them or to independent distributors.  All have confirmed
the distressing news.  

It seems that all of us may well have to pay a heavy price because Tower
appears to have overextended itself.  Whatever the actual fact situation is,
the "majors" are unhappy but have no choice and the independents, whether
record labels or distributors are left to "swing in the wind".

Let us all hope that the independents will be able to weather this hurricane
through mail order sales and internet sales.

I urge you to share this with your record collecting friends and to forward
it on to your friends and also to the various internet discussion lists to
which you may subscribe.

While I have "blind copied" individuals, I have shown as "indicated copies"
the various lists to which I subscribe so that you will all know to which
lists not to repost this distressing and disheartening news.

I apologize to those who inevitably will receive duplicate copies of this
message!

It is time to gather around and support our friends and alllies in the record
business!

My best always,

TNT

PS:  I apologize for the vexing format of the original transmission, but what
you see is what I got!

T

Subj: [Fwd: Tower Records - Bad news]
Date: 5/14/01 11:03:12 AM Eastern Daylight Time
From:    molodoi@... (John Bell Young)
To:    nlz@... (Nicholas L Zumbro)






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Date: Mon, 14 May 2001 02:59:09 -0700
Reply-To: scriabin@yahoogroups.com
Subject: [Scriabin] Tower Records - Bad news
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<tt>
[I just saw this article.]



=
http://www.wqxr.com/cgi-bin/iowa/cla/article.html?record=3D51




Classical News from Musical America.com



Tower Freezes Out the Little Guys

By Susan Elliott

MusicalAmerica.com

May 11, 2001





SACRAMENTO, Calif. -- On May 1, a chilling memo was issued from

Tower Records' headquarters here to all 113 of its U.S. stores.

The memo read as follows:



&quot;Effective immediately, the following three companies are on

buying hold: Allegro, Harmonia Mundi, and Qualiton. Please do

not purchase from these vendors until you have received notice

from here.&quot;



Translation: Do not order any more recordings from these three

independent distributors of (mostly classical and jazz)

recordings until Tower corporate says it's OK.



Thus, if Anonymous 4 records a new CD on its label, Harmonia

Mundi USA, you won't find it in Tower Records. Nor will you

find any new discs from Chanticleer or on the Dorian and Nimbus

labels (among the Allegro stable) or on CRI, Hungaroton, BIS,

or Supraphon (some of the larger Qualiton-distributed labels.)



[A listing of the classical recording companies affected by

this move may be found at the end of this story.]



At least two of the three distribution companies were not

notified about the freeze directly, but rather heard about it

second-hand. &quot;We found out by accident,&quot; said one. &quot;We heard=


through a store buyer who happens to be a friend,&quot; said

another.



All parties quoted for this article insisted on anonymity --

understandable, for, without Tower, selling classical CDs at

the retail level would be well nigh impossible. Tower is just

about every classical distributor's largest retail customer.



Of course the major distributors -- Universal, Sony, BMG, and

EMI -- are on no such hold. All have agreed to give Tower

deeper discounts on classical product, as well as, in most

cases, to let Tower have 360 days to pay them for any product

sold (called &quot;360-days dating&quot;). &quot;It's like selling records =
on

consignment,&quot; said one label exec. WEA is the only large

distributor that has turned Tower down, which for the moment

could put the status of any new recordings on Nonesuch, Teldec,

and Erato in limbo with the chain.



Waiting a year to be paid my be possible for the majors, all of

which are affiliated with larger entertainment conglomerates,

but the smaller indies simply can't wait that long and stay in

business.



A bit of background: Tower, which has 183 stores worldwide, is

one of the few, if not the only, retail chains that carries a

substantial array of classical recordings, especially back

catalog. (Borders is apparently catching up, but not quickly

enough to please distributors of any genre.)



In recent years, Tower has been having financial difficulties.

Just last month, a major bank loan -- by some reports as high

as $275 million =96 came due. The company has been given an

extension, but that has not quelled rumors that it may be

headed for Chapter 11. Wiser heads say that is unlikely, that

the distributors would sooner come to Tower's aid than let it

file for bankruptcy.



&quot;They're certainly not the force they once were,&quot; said one

executive. &quot;They're closing some stores; the book division is

hemorrhaging money. But going Chapter 11 would really surprise

me.&quot;



One observer posited that the reason for Tower's financial

problems in the U.S. is that the North American stores

essentially financed the chain's rapid expansion overseas.



In any case, if Tower did file for Chapter 11, all of its

current inventory would, by the banks' reckoning, be considered

an asset and would be liquidated. Which in turn means that the

distributors would not be paid for any of the product that

happened to be sitting on the shelves at the time of the

filing.



Once again, the smaller distributors stand to lose their shirts

were that to happen. The chief executive of one of them is so

concerned about Tower's financial condition that he has offered

to personally remove his companies' inventories from various

Tower outlets.



Recognizing the potential reward in taking the risk of 360-days

dating for its classical and jazz product, Universal/Vivendi

was the first to agree to Tower's terms. It also agreed to

lower some of its wholesale prices. (Under the Universal

Classics umbrella fall Deutsche Grammophon, Philips, and Decca

=96 homes to such big sellers as Andrea Bocelli, Pavarotti, and

Ren=E9e Fleming, to name a few.)



&quot;In theory, when you offer to extend the dating like that, it

means an account [Tower] is going to take in more product,&quot;

explained one highly placed label executive. &quot;Tower would be

willing to take a gamble on larger volumes of product because

it is not going to have to pay for it for a year.



&quot;I see it as a desperate attempt to get some quick market share

on the part of Universal,&quot; offered another executive, adding

that the Washington, D.C. Tower store &quot;looks like a Universal

outlet.&quot;



Sony last week followed Universal's lead, agreeing to extended

terms and lower prices, and EMI and BMG are apparently not far

behind.



It is not clear precisely what will happen to the recordings

distributed by Allegro, Harmonia Mundi, and Qualiton. Several

messages left on voice mails at Tower's corporate headquarters

in Sacramento went unanswered, including one with a personal

referral from the chain's New York based national classical

buyer, Ray Edwards. The Lincoln Center classical buyer referred

this writer to the store manager, who also did not return

calls.



Freezing out the independents =96 the rugged pioneers in a field

that so desperately needs rugged pioneers =96 is unfair, not to

mention unhealthy for classical music. But, as one realist

pointed out, &quot;Tower is a privately held company. They can do

whatever they want.&quot;



Classical labels distributed by Allegro:



Arabesque Records

CBC Records

Chanticleer Records

D'Note Records

DOREMI Music

Dorian Records

Four Winds Records

John Marks Records

Marquis Classics

Nimbus Records

Opening Day Recording

Reference Recordings

Stradivarius

Summit Records

Well Tempered Productions



www.allegro-music.com



Classical labels distributed by Harmonia Mundi:



Alia Vox

Na=EFve

Arcana

Na=EFve/Astr=E9e

ATMA

Na=EFve/Montaigne

Black Box Music

Na=EFve/Travelling

Calliope

Na=EFve/Valois Cantaloupe Opera Rara

Channel Classics

Opus 111

Dutton Laboratories

Praga

Harmonia Mundi

Romophone

Hyperion Records

Russian Season

Ina Memoire Vive

Temp=E9raments

Le Chant du Monde

Testament Records

L'Empreinte Digitale

Unicorn-Kanchana

Mandala

Wergo

Marston Records



www.harmoniamundi.com



Classical labels distributed by Qualiton

(partial listing only; Qualiton distributes over 200 labels):



BIS

Cedille

Centaur

CRI

Dynamic

Gala

Glissando

Glossa

Hungaroton

Myto

Orfeo

Parnassus

Supraphon



www.qualiton.com



To comment on this article, write to editor@...



=3D=3D=3D End of article =3D=3D=3D



- Andrys



</tt>




<tt>
http://www.mp3.com/johnbellyou=
ng




http://3d"http://www.johnbellyoung.com%22
<=
BR>


http://3d"http://www.musicbase.org/IMCA%22
=




http://3d"http://www.johnbellyoung.org%22
<B=
R>


Disclaimer-

This message is strictly private and contains confidential information inte=
nded only for the use of the invitees subscribed to this list. All members =
names on file. If you have received this email in error please immediately =


advise help@yahoogroups.com Opinions expressed in this email are those of t=
he individual only, and not neccessarily those of John Bell Young or Identi=
ty Marketing for Concert Artists, Inc. Copyrights belong to the individual =
who writes and posts a message, save for those citations appropriated under=
the Fair Use exceptions of international copyright Law.



</tt>



[I just saw this article.]

http://www.wqxr.com/cgi-bin/iowa/cla/article.html?record=51

Classical News from Musical America.com

Tower Freezes Out the Little Guys
By Susan Elliott
MusicalAmerica.com
May 11, 2001


SACRAMENTO, Calif. -- On May 1, a chilling memo was issued from
Tower Records' headquarters here to all 113 of its U.S. stores.
The memo read as follows:

"Effective immediately, the following three companies are on
buying hold: Allegro, Harmonia Mundi, and Qualiton. Please do
not purchase from these vendors until you have received notice
from here."

Translation: Do not order any more recordings from these three
independent distributors of (mostly classical and jazz)
recordings until Tower corporate says it's OK.

Thus, if Anonymous 4 records a new CD on its label, Harmonia
Mundi USA, you won't find it in Tower Records. Nor will you
find any new discs from Chanticleer or on the Dorian and Nimbus
labels (among the Allegro stable) or on CRI, Hungaroton, BIS,
or Supraphon (some of the larger Qualiton-distributed labels.)

[A listing of the classical recording companies affected by
this move may be found at the end of this story.]

At least two of the three distribution companies were not
notified about the freeze directly, but rather heard about it
second-hand. "We found out by accident," said one. "We heard
through a store buyer who happens to be a friend," said
another.

All parties quoted for this article insisted on anonymity --
understandable, for, without Tower, selling classical CDs at
the retail level would be well nigh impossible. Tower is just
about every classical distributor's largest retail customer.

Of course the major distributors -- Universal, Sony, BMG, and
EMI -- are on no such hold. All have agreed to give Tower
deeper discounts on classical product, as well as, in most
cases, to let Tower have 360 days to pay them for any product
sold (called "360-days dating"). "It's like selling records on
consignment," said one label exec. WEA is the only large
distributor that has turned Tower down, which for the moment
could put the status of any new recordings on Nonesuch, Teldec,
and Erato in limbo with the chain.

Waiting a year to be paid my be possible for the majors, all of
which are affiliated with larger entertainment conglomerates,
but the smaller indies simply can't wait that long and stay in
business.

A bit of background: Tower, which has 183 stores worldwide, is
one of the few, if not the only, retail chains that carries a
substantial array of classical recordings, especially back
catalog. (Borders is apparently catching up, but not quickly
enough to please distributors of any genre.)

In recent years, Tower has been having financial difficulties.
Just last month, a major bank loan -- by some reports as high
as $275 million – came due. The company has been given an
extension, but that has not quelled rumors that it may be
headed for Chapter 11. Wiser heads say that is unlikely, that
the distributors would sooner come to Tower's aid than let it
file for bankruptcy.

"They're certainly not the force they once were," said one
executive. "They're closing some stores; the book division is
hemorrhaging money. But going Chapter 11 would really surprise
me."

One observer posited that the reason for Tower's financial
problems in the U.S. is that the North American stores
essentially financed the chain's rapid expansion overseas.

In any case, if Tower did file for Chapter 11, all of its
current inventory would, by the banks' reckoning, be considered
an asset and would be liquidated. Which in turn means that the
distributors would not be paid for any of the product that
happened to be sitting on the shelves at the time of the
filing.

Once again, the smaller distributors stand to lose their shirts
were that to happen. The chief executive of one of them is so
concerned about Tower's financial condition that he has offered
to personally remove his companies' inventories from various
Tower outlets.

Recognizing the potential reward in taking the risk of 360-days
dating for its classical and jazz product, Universal/Vivendi
was the first to agree to Tower's terms. It also agreed to
lower some of its wholesale prices. (Under the Universal
Classics umbrella fall Deutsche Grammophon, Philips, and Decca
– homes to such big sellers as Andrea Bocelli, Pavarotti, and
Renée Fleming, to name a few.)

"In theory, when you offer to extend the dating like that, it
means an account [Tower] is going to take in more product,"
explained one highly placed label executive. "Tower would be
willing to take a gamble on larger volumes of product because
it is not going to have to pay for it for a year.

"I see it as a desperate attempt to get some quick market share
on the part of Universal," offered another executive, adding
that the Washington, D.C. Tower store "looks like a Universal
outlet."

Sony last week followed Universal's lead, agreeing to extended
terms and lower prices, and EMI and BMG are apparently not far
behind.

It is not clear precisely what will happen to the recordings
distributed by Allegro, Harmonia Mundi, and Qualiton. Several
messages left on voice mails at Tower's corporate headquarters
in Sacramento went unanswered, including one with a personal
referral from the chain's New York based national classical
buyer, Ray Edwards. The Lincoln Center classical buyer referred
this writer to the store manager, who also did not return
calls.

Freezing out the independents – the rugged pioneers in a field
that so desperately needs rugged pioneers – is unfair, not to
mention unhealthy for classical music. But, as one realist
pointed out, "Tower is a privately held company. They can do
whatever they want."

Classical labels distributed by Allegro:

Arabesque Records
CBC Records
Chanticleer Records
D'Note Records
DOREMI Music
Dorian Records
Four Winds Records
John Marks Records
Marquis Classics
Nimbus Records
Opening Day Recording
Reference Recordings
Stradivarius
Summit Records
Well Tempered Productions

www.allegro-music.com

Classical labels distributed by Harmonia Mundi:

Alia Vox
Naïve
Arcana
Naïve/Astrée
ATMA
Naïve/Montaigne
Black Box Music
Naïve/Travelling
Calliope
Naïve/Valois Cantaloupe Opera Rara
Channel Classics
Opus 111
Dutton Laboratories
Praga
Harmonia Mundi
Romophone
Hyperion Records
Russian Season
Ina Memoire Vive
Tempéraments
Le Chant du Monde
Testament Records
L'Empreinte Digitale
Unicorn-Kanchana
Mandala
Wergo
Marston Records

www.harmoniamundi.com

Classical labels distributed by Qualiton
(partial listing only; Qualiton distributes over 200 labels):

BIS
Cedille
Centaur
CRI
Dynamic
Gala
Glissando
Glossa
Hungaroton
Myto
Orfeo
Parnassus
Supraphon

www.qualiton.com

To comment on this article, write to editor@...

=== End of article ===

- Andrys


http://www.mp3.com/johnbellyoung

http://www.johnbellyoung.com

http://www.musicbase.org/IMCA

http://www.johnbellyoung.org

Disclaimer-
This message is strictly private and contains confidential information intended only for the use of the invitees subscribed to this list. All members names on file. If you have received this email in error please immediately
advise help@yahoogroups.com Opinions expressed in this email are those of the individual only, and not neccessarily those of John Bell Young or Identity Marketing for Concert Artists, Inc. Copyrights belong to the individual who writes and posts a message, save for those citations appropriated under the Fair Use exceptions of international copyright Law.



Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.

#392 From: TeriNoelTowe@...
Date: Sat Aug 11, 2001 8:52 am
Subject: Two New Pages: Two More Portraits Discussed at The Face Of Bach
TeriNoelTowe@...
Send Email Send Email
 
Greetings to you all:

This morning, on the 95th anniversary of the birth of my treasured friend and
mentor, Joseph Machlis, author of The Enjoyment of Music, I added two
entirely new sections to The Face Of Bach.

The first is a discussion of the painting that is said by some to be a
portrait of Bach and 3 of his sons.  As you can tell by the title of the
section, I definitely do not agree, and, what's more, I am confident that my
evidence for identifying the subjects as members of another musical dynasty,
one to which Sebastian Bach and his family were close, will withstand
challenge.

The Portrait That Does NOT Depict J. S Bach With Three Of His Sons


The second new section is an analysis of the painting that is purported to be
a portrait of Bach at the age of about 30, midway through his term of duty in
Weimar.  This justifiably well-loved image graces the covers of countless
recordings and is an illustration to be found in myriad books and articles.  

But is it an accurate depiction of the face of Johann Sebastian Bach?

That is the question for which I have to give an answer that brought no
gladness into my heart.

The Portrait in Erfurt Alleged to Depict Bach, the Weimar Concertmeister - Is
this young man really Johann Sebastian Bach?


I hope that this finds all of you well and thriving as summer's end draws
nigh!

My best always,

Teri

#393 From: TeriNoelTowe@...
Date: Sun Aug 26, 2001 1:40 am
Subject: Two More New Pages Have Been Added at The Face Of Bach!
TeriNoelTowe@...
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Greetings to you all!

I have added two more pages to those that are already "on line" at The Face
Of Bach
.

The first of these pages is the long overdue and long awaited revision of my
initial examination of the controversial but undoubtedly authentic image
known as the Meiningen Pastel, the closest thing we have to a "family
snapshot" of Johann Sebastian Bach.  Here is a direct link to the page:

The Meiningen Pastel - Bach Through The Eyes Of His Relatives


The second of these pages is an examination of what is most likely the least
well known of the portraits of Johann Sebastian Bach, an image that was
discovered in Berlin during World War Two and that appears to have been a
casualty of the Allied bombings in early 1945.  (Hope springs eternal, as the
saying goes!) This portrait, which almost certainly was commissioned by Count
von Keyserlingk, is another that is controversial but nonethelesss
undoubtedly authentic, and, under the circumstances, its admission to the
canon is bittersweet.  Here is a direct link to the page:

The Portrait of Bach That Was Lost In World War Two - An Authentic
"Alternative" to the Haussmann Image of Johann Sebastian Bach in his early 60s


I also have obtained, fortuitously and serendipitously, some new and
previously unknown information on the provenance of the Group Portrait.  
Those of you who may be interested will find this information in an Addendum
at the end of the second page of the discussion of the Group Portrait.

Here, for your convenience, is a direct link to that second page:

The Portrait That Does NOT Depict J. S Bach With Three Of His Sons (2)

Once again, I hope that this announcement finds each of you well and thriving
and enjoying the waning days of summer.

My thanks, as always, for your interest, and my best wishes, as always, to
each of you.

Teri

#394 From: TeriNoelTowe@...
Date: Sun Sep 23, 2001 7:24 am
Subject: Ominous Strains of Bach, in Tune With the Times
TeriNoelTowe@...
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Click here: Ominous Strains of Bach, in Tune With the Times


September 21, 2001

MUSIC REVIEW



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Ominous Strains of Bach, in Tune With the Times

By ANNE MIDGETTE
he title "Cantatas in Context" took on new meaning on Wednesday night when the Orchestra of St. Luke's gave its first concert of the season, free, as a memorial to the victims of the terrorist attacks. The preceding week had created a stirring context for the music of Bach.The title was originally meant to convey that the music was being presented in a church rather than a concert hall. In fact, the context of the first Bach performances was probably more austere than the ornate altarpieces and shining gold at the St. Vincent Ferrer Church on the Upper East Side. But these days, a little extra ornament isn't going to hurt anyone's feelings.The context was also the liturgical calendar, integral to Bach's conception of his works. The four cantatas in the program — "Nun ist das Heil und die Kraft" (BWV 50), "Man singet mit Freuden vom Sieg" (BWV 149), "Herr Gott, dich Loben alle wir" (BWV 130) and "Es erhub sich ein Streit" (BWV 19) — were all composed for the autumnal Feast of St. Michael, whose victory over Satan is depicted in the Book of Revelations. Dramaturgically, the program was all too topical, moving from BWV 149 ("We sing a victory with joy") to the rather ominous, bellicose BWV 19 ("There arose a war").




That last cantata, however, was the most vital and focused. The conductor, Mary Greer, led this small instrumental ensemble and the New York Baroque Soloists, 12 members strong. In the opening piece, "Now is come salvation and strength," the church's acoustics contributed to a perception of disjuncture among the voices. All the performers picked up, though, and the final piece was finely coordinated, from its robust introduction to the resounding echo of its concluding sung chord.For two of the soloists — Richard Lalli, bass, and Ilana Davidson, soprano — this cantata was the strong point. Mr. Lalli's light voice, which began with that not unpleasant dry, slightly sandy quality of Bach basses, moved from an initially skittish aria, "Kraft und Stärke sei gesungen," in BWV 149, to a deeper, more centered authority in "Gottlob! der Drache liegt," his BWV 19 recitative. And Ms. Davidson's delicate small instrument shone with precision in the coloratura of her BWV 19 aria and made a lovely thing out of the brief recitative near the work's end.The other two soloists were Mary Westbrook-Geha, mezzo-soprano, who projected tremendous dependability and a nice, solid instrument, and William Ferguson, a very appealing young tenor. Mr. Ferguson's abilities, for instance, showed in his duet with Ms. Westbrook-Geha in BWV 149, when he connected with the words and the music to bring alive, first, the alertness of "Seid wachsam" ("Be wakeful") and then the dark tiredness of "Die Nacht ist schier dahin" ("The night is nearly spent"). In the longer arias, although he executed them well, his pleasant voice sounded as if it might be better suited to a different repertory.

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#395 From: TeriNoelTowe@...
Date: Sun Dec 2, 2001 7:59 am
Subject: From today's NY Times: Gravest Bach Is Suddenly a Best Seller
terinoeltowe
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Click here: Gravest Bach Is Suddenly a Best Seller

December 2, 2001

Gravest Bach Is Suddenly a Best Seller


By JAMES R. OESTREICH

erhaps it speaks to a time newly immersed in grief, introspection and foreboding. How else to explain the astounding popularity of "Morimur," a new recording of Bach at his most austere, seemingly obsessed with death?
The phenomenon began in Europe, where "Morimur" (ECM New Series 1765) was first released; in Germany, it quickly rose to No. 1 on the classical chart of the trade publication Der Musikmarkt. In America, it entered the Billboard classical chart at No. 10 and has lately been hovering around No. 4 or 5. Almost as telling, it briefly soared to No. 3 on Amazon.com's list of best-selling records overall, behind pop albums by Britney Spears and Enya.
Nothing about "Morimur" hints at crossover or pandering. In that respect, it resembles earlier surprise hits like Gorecki's Third Symphony, from Nonesuch, and "Chant," from Angel Records, although "Chant" arrived from Europe trendily repackaged for the American market. What's more, the spare melodies of "Chant" — with all due respect to the Benedictine monks of Santo Domingo de Silos in Spain, who may have been dispatching their churchly functions perfectly well — were rendered with cloying sweetness. Like the static laments of the Gorecki symphony, "Morimur" is performed at the highest level, played by Christoph Poppen, a violinist, and sung by the Hilliard Ensemble, a minimalist chorus of four voices.



Dieter Rehm/ECM Records
Christoph Poppen, at right, and the Hilliard Ensemble made the unlikely smash hit ``Morimur.''



Arts & Leisure (Dec. 2, 2001)




Join a Discussion on Classical Music








But ultimately, those earlier phenomena defied simple explanations, and "Morimur" may prove equally elusive in its many meanings. Even the title ("We Die") is more gloomy than catchy.
The album, just over an hour of music, is built around Bach's Partita for Unaccompanied Violin in D minor (BWV 1004): the partita, not incidentally, that ends with the famous Chaconne. The project's central proposition, first developed by a retired German violin teacher, Helga Thoene, is that the Chaconne was intended as a memorial to Bach's first wife, Maria Barbara, and that it is crammed with references to death and sorrow, vividly illustrated here.
The death of Maria Barbara, the mother of Bach's first seven children, came unexpectedly in 1720, as Bach was spending a few months in Carlsbad with his employer Prince Leopold of Anhalt-Cöthen. When Bach returned to Cöthen, he found his wife of 35, whom he had left in apparent good health, dead of unknown causes and several days buried.
Later that year, he published six "solos": three sonatas and three partitas for unaccompanied violin. These have generally been considered masterpieces of abstract, "absolute" music, wonders of pure melody, harmony and counterpoint, conjured from means scarcely adequate to the task. But these works have continued to harbor mysteries, none greater than that looming, monumental Chaconne of some 14 minutes, almost as long as the other four movements of the D minor Partita put together and transparently eloquent. But what, exactly, does it communicate?
Ms. Thoene calls the Chaconne an epitaph. As evidence, she points to snippets of tunes from several of Bach's sacred works meditating on death, especially the Cantata No. 4, "Christ Lag in Todesbanden" ("Christ Lay in the Bonds of Death"), which insistently reworks an Easter hymn by Martin Luther. The third movement is a duet that dwells on the characteristic opening sigh, and its first line, "Den Tod niemand zwingen kunnt" ("That death no one could subdue"), is used as a haunting motto for the album.
But the project's masterstroke, following a complete performance of the partita by Mr. Poppen, interspersed with Hilliard expositions of various of the sacred tunes, is a reprise of the Chaconne superimposed with vocal snatches corresponding to Ms. Thoene's melodic finds. This is clearly meant to be revelatory, and to some degree it is.
Ms. Thoene, in a booklet essay, speaks much of encryption. She suggests that the chorale quotations, while often "inaudible" because they are stripped of their rhythms in the barebones scoring, can be made audible by sustaining the pertinent pitches, as the voices do here. Yet she seems to find almost more tunes than she wants. Although the muted joy of the D major central section affords relief from the deep sorrow of the outer sections in this interpretation, the appearance of the Christmas ditty "Vom Himmel Hoch da Komm Ich Her" ("From Heav'n Above I Come to Earth") seems almost incongruous. Ms. Thoene does not discuss it, and the album does not give the chorale a separate reading in the quick rundown of other sources.
This is all well and good (although one shudders to think how many "meaningful" snippets and motifs could be unearthed by mining the inner voices of a Brahms or Mahler symphony). In any case, nonspecialist listeners are given some basis to judge the merits of Ms. Thoene's proposition for themselves and wade knee-deep into a fascinating musicological thicket.
But the arguments in the essay by Ms. Thoene, and in another by Herbert Glossner, claim more, having to do with numerology. Here wariness is in order.
That Bach was fascinated by numbers is well known; it was virtually a prerequisite for his job. For him, as for many others, the trinity had religious and thus cosmic significance, and his works and published sets are often neatly divisible by three. The number 14 seems to have had a personal significance, as the sum of the letters of the name Bach in gematria, an ancient practice that assigns numerical values to the letters of the alphabet. (In Bach's German alphabet, A would equal 1; B, 2; and so on. But I and J would both equal 9; U and V, 20.) Forty-one may also have had significance as the gematric equivalent of J. S. Bach.
But this slope quickly becomes slippery. Mr. Glossner discusses some of Ms. Thoene's work on the three unaccompanied sonatas, which she relates to Christmas, the Passion and Easter, and Pentecost.
"She recalled an old Latin Trinity saying found on tombstones," he writes, "and correlated its numeric values to the architecture of the sonatas in a great many ways:

Ex Deo nascimur
In Christo morimur
Per Spiritum Sanctum reviviscimus.

" `We are born from God/ We die in Christ/ We are reborn through the Holy Spirit' — this Trinitarian formula is fascinating for its concise summary of central articles of Christian faith. Thoene has retraced its occurrences in the D minor Partita, particularly in the concluding Ciaccona. Using an original bar-by- bar summation, she construes the nine-note bass figure of the Ciaccona as the same gematric figure 756 that applies to the entire saying."
The image of Bach toting up the numerical values of 59 letters to establish a framework for his composition is unedifying. (Or was there a gematric abacus?) Far from sounding minutely calculated, even in the most abstruse creations, his music flows as smoothly and freely as the sensuously undulating lines of his musical script.
Moreover, there is no way any of this — unlike Ms. Thoene's melodic inaudibilities; unlike Bach's use of the letters of his name and the corresponding pitches in a musical signature — can be made audible. Such a number fetish speaks more to the experience of much serial music of the last century, in which the "encryption" could prove at least as opaque, than it does to Bach.
Still, it is remarkable that many thousands of listeners are on one level or another grappling with such issues and, more to the point, seriously confronting some of Bach's most profound and uplifting music. These pieces transcend the gloom from the moment they are heard. The performances are everywhere engaging and at times truly sublime. By now, many a novice has undoubtedly been moved to seek out the entire Cantata No. 4, a beauty (and with plenty more where that came from). That is an edifying notion.  

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#396 From: TeriNoelTowe@...
Date: Wed Dec 5, 2001 7:08 am
Subject: Warning!!!!!! - Another Vicious Computer Virus!
terinoeltowe
Send Email Send Email
 
Pardon the intrusion, but from what I can tell, if you ignore  Goner, you're a goner!

This is another virus to take seriously.  It has to be if it made The New York Times.

I annex the article from the Times, and, after the article, an e-mail that was forwarded to me by my good friend Mark Windisch, an e-mail that sets forth an explanation of how to get rid of the virus should it infect your computer.

I chant again my mantra:

If you don't have a good anti-virus program on your computer, please get one.  If you have one, please keep it up to date!

My best always,

Teri

P. S.:  Thanks again, Mark!

Click here: They Looked, They Clicked, a New E-Mail Virus Conquered


December 5, 2001


They Looked, They Clicked, a New E-Mail Virus Conquered

By JOHN SCHWARTZ



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new malicious computer virus named Goner began making the rounds of the online world yesterday like an Internet IQ test. Anyone who has not learned the most important computer security message of the last two years — do not open any unexpected files that come attached to e-mail messages — ends up infecting the computer.Once installed, the Goner program — technically known as a worm — looks for and deletes a number of programs, including Internet security programs like ZoneAlarm. If the victim uses the Microsoft (news/quote
) Outlook e- mail program, Goner sends itself to those in the e-mail address book. It can also be spread through ICQ, an Internet instant-message system.Like several predecessors, the new virus spread quickly, affecting companies and individuals using Microsoft Outlook, according to experts at several computer security companies. One, Network Associates (news/quote), said customers had reported more than 100,000 infected machines. Because it is new, Goner is not automatically blocked by many security screens looking for features of older viruses. Most antivirus companies had patches ready yesterday.The program arrives in an e-mail message that says, "When I saw this screen saver, I immediately thought about you," and, "I am in a harry [sic], I promise you will love it!" The file attached to the message is named "Gone.scr.""If that doesn't look like a virus, nothing does," scoffed David M. Perry, the global director of education for Trend Micro (news/quote), a computer security company based in Tokyo. Despite extensive warnings, he said, people still open unexpected attachments. "They call and say, `I downloaded it and I clicked on it — what should I have seen?' "" `Your pink slip,' " he explained in a mock response, " `because you're an idiot.' "


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Subj: Fwd: [HANDEL-L] OT info on today's high-risk GONER virus
Date: 12/5/01 6:09:02 AM Eastern Standard Time
From: MWindi4108

To: TeriNoelTowe




As promised
-----------------
Forwarded Message:
Subj: [HANDEL-L] OT info on today's high-risk GONER virus
Date: 12/4/01 5:23:01 PM Eastern Standard Time


From:    Jill.Gunsell@... (Jill)
Reply-to:    handel-l@yahoogroups.com
To:    BachCantatas@yahoogroups.com (Bach Cantatas), BACH-LIST@... (Bach), andreasschollsociety@yahoogroups.com (SchollSoc), orfeo@yahoogroups.com (Orfeo), handel-l@yahoogroups.com (Handel List)

Hi

Pls forgive cross posting but this has already been a bad week for viruses
and McAfee is issuing red warnings on this one today.

Symptoms and fix pasted below.

Jill



See also
http://www.mcafee.com/anti-virus/viruses/Goner/

GONER is a HIGH RISK virus that spread via Microsoft Outlook and can be
spread via ICQ. This is a mass mailing worm that attempts to send itself to
all entries in the Outlook Address book. The virus will arrive with the
following email message:
Subject: Hi
Body:
How are you ?
When I saw this screen saver, I immediately thought about you
I am in a harry, I promise you will love it!

Attachment: GONE.SCR

Running this attachment infects the local system.

When run, the worm displays a message box entitled, "About"

If you run the attachment, the worm copies itself into SYSTEM in the
%WinDir% folder and adds the following registry key in order to get started
upon boot:
HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows\CurrentVersion\
Run\C:\%WINDIR%\SYSTEM\gone.scr=C:\%WINDIR%\SYSTEM\gone.scr

The worm also attempts to delete the following files:
APLICA32.EXE
ZONEALARM.EXE
ESAFE.EXE
CFIADMIN.EXE
CFIAUDIT.EXE
CFINET32.EXE
PCFWallICON.EXE
FRW.EXE
VSHWIN32.EXE
NAVW32.EXE
_AVP32.EXE
_AVPCC.EXE
_AVPM.EXE
AVP32.EXE
AVPCC.EXE
AVPM.EXE
AVP.EXE
LOCKDOWN2000.EXE
ICLOAD95.EXE
ICMON.EXE
ICSUPP95.EXE
ICLOADNT.EXE
ICSUPPNT.EXE
TDS2-98.EXE
TDS2-NT.EXE
SAFEWEB.EXE



Manual Removal Instructions
WINDOWS 95/98/ME
Restart Windows in Safe Mode (reboot your computer, just before the large
WINDOWS startup screen comes up, hit the F5 key). You can recognize that
you're in Safe Mode by the text Safe Mode in the 4 corners of the desktop.
Click START | FIND | Files or Folders ...
Type Gone.scr and hit ENTER
Delete GONE.SCR (if present)
Click START | RUN, type REGEDIT and hit ENTER
Click the (+) next to HKEY_LOCAL_MACHINE
Click the (+) next to SOFTWARE
Click the (+) next to MICROSOFT
Click the (+) next to WINDOWS
Click the (+) next to CURRENTVERSION
Click RUN
Click on C:\WINDOWS\SYSTEM\gone.scr on the right and hit DELETE on the
keyboard
Restart the computer
Additional Windows ME Info:
NOTE: Windows ME utilizes a backup utility that backs up selected files
automatically to the C:\_Restore folder. This means that an infected file
could be stored there as a backup file, and VirusScan will be unable to
delete these files. These instructions explain how to remove the infected
files from the C:\_Restore folder.
Disabling the Restore Utility
1. Right click the My Computer icon on the Desktop.
2. Click on the Performance Tab.
3. Click on the File System button.
4. Click on the Troubleshooting Tab.
5. Put a check mark next to "Disable System Restore".
6. Click the Apply button.
7. Click the Close button.
8. Click the Close button again.
9. You will be prompted to restart the computer. Click Yes.
NOTE: The Restore Utility will now be disabled.
10. Restart the computer in Safe Mode.
11. Run a scan with VirusScan to delete all infected files, or browse the
file's located in the C:\_Restore folder and remove the file's.
12. After removing the desired files, restart the computer normally.
NOTE: To re-enable the Restore Utility, follow steps 1-9 and on step 5
remove the check mark next to "Disable System Restore". The infected file's
are removed and the System Restore is once again active.


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#397 From: TeriNoelTowe@...
Date: Fri Dec 7, 2001 7:42 pm
Subject: RED ALERT!! Stalking Horse Virus!!!! --- Fwd: new virus --DANGER!!
terinoeltowe
Send Email Send Email
 
I forward this with profuse thanks to my dear friend Peggy F!

I followed the instructions, and even though I have Norton Anti-Virus 2002 on my computer and it is up to date, I found, to my dismay, that I did have this "stalking horse" virus on my computer.

I cannot urge you too strongly!  Please follow the instructions that are to be found in the forward e-mail!

Please check your computer, rid it of this virus should your computer be infected with it, and then forward this warning on to everyone in your e-mail address book!

My best and my apologies to those of you to whom I may inadvertently and unwittingly sent this virus!

Illegitimi non carborundum!

Teri

In a message dated 12/7/01 12:42:13 PM Eastern Standard Time, PAcrasia writes:



Subj: new virus --DANGER!!
Date: 12/7/01 12:42:13 PM Eastern Standard Time
From: PAcrasia

To: lulumeil@...

BCC: TeriNoelTowe




Here we go again.  I just received this from our friend, Ralph, in Mexico.  I did as he suggested, and voila, the virus-program was on my C drive in "Windows/Command".  i killed it, slowly ,horribly, and enjoyed watching it suffer.  Hope you do not have it.
Peggy
from Ralph:

Please check the following information to see if we
transferred a VIRUS to anyone.

I was sent this from a client -- and we did have it on
our C-Drive.

Sorry -- we hope this hasn't tranferred to you.

Do the following instructions:

This is a time release virus which means that Norton
and MacAfee Anti- virus do not pick it up until it is
too late.
I was told that the virus may have attached itself to
everyone in my address book, and that I should send
this warning to all of you regardless of whether or
not I have emailed you in the past week or so.

Please follow the following directions to see if you
have the virus and if you do, to eliminate it.

Click on "start".
Choose "find" or "search".
Choose "files and /or folders".
Select "find".
Select "C drive".
The file to search for is: SULFNBK.EXE

If you find this file, DO NOT OPEN IT!
SELECT THE FILE BY right clicking ON YOUR MOUSE AND
DELETE IT!
Then close the window and EMPTY YOUR RECYCLE BIN.
Then email everyone in your address book and ask them
to follow the same procedures.





Here we go again.  I just received this from our friend, Ralph, in Mexico.  I did as he suggested, and voila, the virus-program was on my C drive in "Windows/Command".  i killed it, slowly ,horribly, and enjoyed watching it suffer.  Hope you do not have it.
Peggy
from Ralph:

Please check the following information to see if we
transferred a VIRUS to anyone.

I was sent this from a client -- and we did have it on
our C-Drive.

Sorry -- we hope this hasn't tranferred to you.

Do the following instructions:

This is a time release virus which means that Norton
and MacAfee Anti- virus do not pick it up until it is
too late.
I was told that the virus may have attached itself to
everyone in my address book, and that I should send
this warning to all of you regardless of whether or
not I have emailed you in the past week or so.

Please follow the following directions to see if you
have the virus and if you do, to eliminate it.

Click on "start".
Choose "find" or "search".
Choose "files and /or folders".
Select "find".
Select "C drive".
The file to search for is: SULFNBK.EXE

If you find this file, DO NOT OPEN IT!
SELECT THE FILE BY right clicking ON YOUR MOUSE AND
DELETE IT!
Then close the window and EMPTY YOUR RECYCLE BIN.
Then email everyone in your address book and ask them
to follow the same procedures.




#398 From: TeriNoelTowe@...
Date: Fri Dec 7, 2001 7:58 pm
Subject: RED ALERT!! Stalking Horse Virus!!!! --- Fwd: new virus --DANGER!!
terinoeltowe
Send Email Send Email
 
I forward this with profuse thanks to my dear friend Peggy F!

I followed the instructions, and even though I have Norton Anti-Virus 2002 on my computer and it is up to date, I found, to my dismay, that I did have this "stalking horse" virus on my computer.

I cannot urge you too strongly!  Please follow the instructions that are to be found in the forward e-mail!

Please check your computer, rid it of this virus should your computer be infected with it, and then forward this warning on to everyone in your e-mail address book!

My best and my apologies to those of you to whom I may inadvertently and unwittingly sent this virus!

Illegitimi non carborundum!

Teri

In a message dated 12/7/01 12:42:13 PM Eastern Standard Time, PAcrasia writes:



Subj: new virus --DANGER!!
Date: 12/7/01 12:42:13 PM Eastern Standard Time
From: PAcrasia

To: lulumeil@...

BCC: TeriNoelTowe




Here we go again.  I just received this from our friend, Ralph, in Mexico.  I did as he suggested, and voila, the virus-program was on my C drive in "Windows/Command".  i killed it, slowly ,horribly, and enjoyed watching it suffer.  Hope you do not have it.
Peggy
from Ralph:

Please check the following information to see if we
transferred a VIRUS to anyone.

I was sent this from a client -- and we did have it on
our C-Drive.

Sorry -- we hope this hasn't tranferred to you.

Do the following instructions:

This is a time release virus which means that Norton
and MacAfee Anti- virus do not pick it up until it is
too late.
I was told that the virus may have attached itself to
everyone in my address book, and that I should send
this warning to all of you regardless of whether or
not I have emailed you in the past week or so.

Please follow the following directions to see if you
have the virus and if you do, to eliminate it.

Click on "start".
Choose "find" or "search".
Choose "files and /or folders".
Select "find".
Select "C drive".
The file to search for is: SULFNBK.EXE

If you find this file, DO NOT OPEN IT!
SELECT THE FILE BY right clicking ON YOUR MOUSE AND
DELETE IT!
Then close the window and EMPTY YOUR RECYCLE BIN.
Then email everyone in your address book and ask them
to follow the same procedures.





Here we go again.  I just received this from our friend, Ralph, in Mexico.  I did as he suggested, and voila, the virus-program was on my C drive in "Windows/Command".  i killed it, slowly ,horribly, and enjoyed watching it suffer.  Hope you do not have it.
Peggy
from Ralph:

Please check the following information to see if we
transferred a VIRUS to anyone.

I was sent this from a client -- and we did have it on
our C-Drive.

Sorry -- we hope this hasn't tranferred to you.

Do the following instructions:

This is a time release virus which means that Norton
and MacAfee Anti- virus do not pick it up until it is
too late.
I was told that the virus may have attached itself to
everyone in my address book, and that I should send
this warning to all of you regardless of whether or
not I have emailed you in the past week or so.

Please follow the following directions to see if you
have the virus and if you do, to eliminate it.

Click on "start".
Choose "find" or "search".
Choose "files and /or folders".
Select "find".
Select "C drive".
The file to search for is: SULFNBK.EXE

If you find this file, DO NOT OPEN IT!
SELECT THE FILE BY right clicking ON YOUR MOUSE AND
DELETE IT!
Then close the window and EMPTY YOUR RECYCLE BIN.
Then email everyone in your address book and ask them
to follow the same procedures.




#399 From: TeriNoelTowe@...
Date: Sat Dec 8, 2001 5:13 am
Subject: Disregard the RED ALERT!!!!!! I have been misled once again, and I apologize!!
terinoeltowe
Send Email Send Email
 
As usual, the road to hell is paved with good intentions!

I have been misled, and, because I am so terrified by the prospect of being "wiped out", even though I back up my computers on a daily basis, I overreacted, in part because of the integrity and reliability of the source of the warning.

Fortunately, others of equal reliability and integrity have let me know that I am a (1) a chump and (2) even chumps like me can restore the file easily.

I attach the instructions from the Symantecs website.

Again, apologies to those who acted on my warning and thanks to those who got in touch at once.

My best and my thanks always,

Teri

P. S.:  The weird thing is that the hoax did not come up when I did my search at Symantec's site.  I can only assume that I mistyped the name of the alleged "virus" and did not realize it!!



How to restore the Sulfnbk.exe file

If you have deleted this file, restoration is optional. Sulfnbk.exe is a Microsoft Windows utility that is used to restore long file names. It is not needed for normal system operation. If you want to restore it, there is more than one way to do this. See the information that follows.

NOTE: The instructions in this document are provided for your convenience. The extraction of Windows files uses Microsoft programs and commands. Symantec does not provide warranty support for or assistance with Microsoft products. If you have any questions, please see your Windows documentation or contact Microsoft.

Windows Me
If you are using Windows Me, you can restore the file using the System Configuration Utility.1. Click Start and then click Run.
2. Type msconfig and then press Enter.
3. Click Extract Files. The "Extract one file from installation disk" dialog box appears.
4. In the "Specify the system file you would like to restore" box, type the following, and then click Start:

c:\windows\command\sulfnbk.exe

NOTE: If you installed Windows to a different location, make the appropriate substitution.

The Extract File dialog box appears.

5. Next to the "Restore from" box, click Browse, and browse to the location of the Windows installation files. If they were copied to the hard drive, this is, by default, C:\Windows\Options\Install. You can also insert the Windows installation CD in the CD-ROM drive and browse to that location.
6. Click OK and follow the prompts.

Windows 98
If you are using Windows 98, you can restore the file using the System File Checker.1. Click Start and then click Run.
2. Type sfc and then press Enter.
3. Click "Extract one file from installation disk."
4. In the "Specify the system file you would like to restore" box, type the following, and then click Start:

c:\windows\command\sulfnbk.exe

NOTE: If you installed Windows to a different location, make the appropriate substitution.

The Extract File dialog box appears.

5. Next to the "Restore from" box click Browse, and browse to the location of the Windows installation files. If they were copied to the hard drive, this is, by default, C:\Windows\Options\Cabs. You can also insert the Windows installation CD in the CD-ROM drive and browse to that location.
6. Click OK and follow the prompts.
Windows 95 (or alternative method for Windows 98/Me)
If you are using Windows 95, you need to use the extract command. This can also be used on Windows 98/Me.
1. Click Start, point to Find or Search, and then click Files or Folders.
2. Make sure that "Look in" is set to (C:) and that Include subfolders is checked.
3. In the "Named" or "Search for..." box, type:

precopy1

4. Click Find Now or Search Now. If it does not exist on the hard drive, then insert the Windows installation CD and repeat the search on that drive.
5. When you find the file, write down the location of Precopy1, for example, C:\Windows\Options\Cabs. This is your Source Path.
6. The general form of the Extract command is:

extract <Source Path>\precopy1.cab sulfnbk.exe /L c:\windows\command

So if the source path is C:\Windows\Options\Cabs, then the Extract command becomes:

extract c:\windows\options\cabs\precopy1.cab sulfnbk.exe /L c:\windows\command

NOTE: If you installed Windows to a different location, make the appropriate substitution.

7. Click Start and then click Run.
8. Type the following, making the appropriate substitutions as previously noted

extract <Source Path>\precopy1.cab sulfnbk.exe /L c:\windows\command

9. Click OK.
For more information on how to use the Microsoft Extract command, see the Microsoft Knowledge Base document, How to Extract Original Compressed Windows Files
, Article ID: Q129605

#400 From: TeriNoelTowe@...
Date: Tue Jan 29, 2002 9:32 pm
Subject: Most unusual recordings of BWV 61 and "Zadok the Priest"
terinoeltowe
Send Email Send Email
 
Yesterday, as a bit of a treat after having been housebound with the flu for nearly two weeks, I paid a visit to Academy Records on West 18th Street, New York's premier dealer in second CDs and collectors' LPs.

Among the many interesting CDs that I came across in the "Budget Section" is a Proprius compact disc (Catalogue No.  PRCD 9120) that showcases the Adolf Fredriks Bachkor and the Drottningholm Ensemble under the direction of Anders Ohrwall in choral works by Bach, Handel, and Schutz.  All but one of the 17 tracks was recorded at a pair of concerts in late November, 1983.

Some of the repertoire is particularly interesting.  

Ohrwall directs an exciting and delicately colored performance of Handel's "Zadok the Priest" to a Swedish text appropriate to the Christmas season.  Handel certainly would not have complained, and, once I adjusted myelf to the "weird" text, I found myself listening to one of the finest interpretations of this anthem that it has been my privilege to hear.

Ohrwall also directs a complete performance of Bach's Advent Cantata, BWV 61, once again with a Swedish text.  It is another satisfying HIP performance, once one gets used to the Swedish text.  The tempi are fleet in the main and the soloists are pure of tone.

The CD also contains, yet again to a Swedish text, a performance of one of the three hymn texts of Charles Wesley that Handel set.

A most unusual and most enjoyable, and it is one that would be overlooked by almost every discographer.  

It makes me wonder what else likr this there is that those of us in the purported "main stream" don't get to hear.

My best always,

TNT

#401 From: TeriNoelTowe@...
Date: Sat Feb 2, 2002 11:56 pm
Subject: From the NY Times: Bringing Hope For Early Music
terinoeltowe
Send Email Send Email
 
From the Arts and Leisure Section of the Sunday New York Times, February 3, 2002:

Bringing Hope for Early Music


February 3, 2002

By JAMES R. OESTREICH




AS the once thriving early-music scene in New York becomes
an ever smaller pond, what is needed, some think, is a big
fish. Questioned about the shrinkage several years ago,
some in the field bemoaned the lack of a charismatic leader
like John Eliot Gardiner in London or William Christie
(alas, an expatriate American) in Paris.

Prominent conductors have occasionally applied: Trevor
Pinnock, from London, as the founding music director of the
short-lived Classical Band more than a decade ago, and the
venerable Gustav Leonhardt, from Amsterdam, as the founding
music director of the New York Collegium three years ago.
But both proved fleeting figureheads, barely involved in
the day-to-day, long-term process of planning, cultivating,
building, nurturing, refining.

"I'm not sure charisma is my main specialty," Andrew
Parrott said recently with just the right self- effacement.
Yet he arrives as the collegium's new music director with a
heavy load of hopes if not necessarily expectations on his
shoulders. Mr. Parrott, 54, an Englishman who has had great
success with his Taverner Consort, Choir and Players since
1973 and with the London Mozart Players since 2000,
certainly has the qualifications for the job. What remains
to be seen is the level and duration of his active
involvement in New York.

Mr. Parrott, who conducted a concert in each of the
collegium's first three seasons, makes his debut as music
director on Friday evening at the Church of St. Vincent
Ferrer on the Upper East Side of Manhattan, with a
performance of Bach's "St. John Passion" that promises to
raise eyebrows. For openers, the work itself has been
deemed controversial in recent years for what many perceive
to be anti- Semitism contained in St. John's text and
enhanced in Bach's score. All of this figured in a book by
the musicologist Michael Marissen, "Lutheranism, Anti-
Judaism and Bach's `St. John Passion' " (1998), which
tended to exculpate Bach, and the work now often comes
accompanied by a symposium airing the issues fully.

The collegium will deal with the matter in a preconcert
lecture. For the rest, Mr. Parrott counts on the listener
to make the necessary distinctions and allowances.

"The best warning against anti-Semitism is to know that our
forefathers were guilty of it," he said, referring to his
own father, who, as a boy in London in the 1920's, joined
friends in mocking their counterparts from the Jewish
school across the street for the way they looked. "With
hindsight, he was desperately ashamed, but to pretend that
it never happened is much more dangerous.

"Similarly, in Bach's time, the anti-Semitism was
absolutely standard. It's not that Bach was more
anti-Semitic than everybody else. It's that Germany was.
Most countries were, at that time, and the New Testament
is, and those two things feed each other. To rewrite
history is far more dangerous than just understanding it
sensibly. So we will be performing what Bach wrote and what
represents 18th-century thinking. And that does not in any
way imply that I subscribe even to any Christian doctrine
in it, let alone an anti-Semitic one."

For his part, Mr. Parrott will make the evening only more
contentious by using the vocal soloists to perform the
choruses as well, singing one voice to a part. The practice
stems, if not from Bach, from research, explications and
performances by the nettlesome American musicologist and
conductor Joshua Rifkin over the last two decades,
insisting that Bach's own "choruses" were generally mere
agglomerations of soloists. The idea has made relatively
little headway among academics and performers of early
music, and it still spurs heated debate.

But Mr. Parrott has embraced it wholesale, advancing the
cause in his book "The Essential Bach Choir" (2000) and in
his recordings of recent years. In addition to exploring
the history himself, he began to experiment with reduced
forces of his own.

"The more I did it, the more blindingly obvious it became
that this was so much easier musically, so much more
natural," he said. "A lot of people will cynically think
you've done it for economic reasons, and that is so
superficial a view. If it were done for economic reasons,
it backfired hugely, because in the Bach year, 2000, I
wasn't asked to do one single performance of Bach in
Britain.

"Meanwhile, the so-called experts have been complacently
spewing out the standard objections and stifling the
debate. I'm not telling people that they must only do it
that way. I'm just saying that if we're interested in
musical history, let's get it right, and the scholars are
the people who should be doing that. They've hidden the
evidence that is there - and it is right out there - from
the public. They've pretended that it's a subject incapable
of resolution. It's incapable of resolution only if you
don't deal with it."

In broader matters as in this one, limited numbers seem to
hold no terrors for Mr. Parrott. On a visit to New York
(postponed from September because of the terrorist attacks)
to meet with Dorothea Endicott, the collegium's executive
director, and finalize plans for next season, he took issue
with this reporter's suggestion of last year that not even
the most ardent authenticist would advocate meager
period-size audiences for early music.

"Actually, I do like the idea of period audiences," he
said. To Ms. Endicott, who was present, he added, "That's
the last thing you want to hear me say."

Indeed, another of the complaints of those early-music
professionals several years ago was that economic pressures
in New York are such that large audiences - and thus,
large, often inappropriate halls - are needed for any
ambitious performing institution to succeed. Mr. Parrott
calls that a self-fulfilling prophecy.

"What I'm not interested in is putting immaculately
proportioned small formations in big venues or
unsympathetic venues," he said. "That does nobody any
service, merely to get larger numbers. I just think one has
to find venues that are appropriate to the music, have
forces that are appropriate to those venues, cost it
accordingly and find ways of making it work. It's just a
different equation."

Mr. Parrott readily acknowledges that for every 100 people
who like going to the opera, there may be only one person
interested in hearing, say, Baroque music done really well.
Still, he adds, if early music could command even a
hundredth of the budget of either the Metropolitan Opera or
the New York City Opera, it might well flourish.

"New York has a lot of talent that has not been properly
tapped," he said. "All that's needed is the opportunity to
develop. What New York lacks in the Baroque field, the
period- instrument field, is just the sheer opportunity. So
many good people from the States have gone to Europe and
are the backbone or have been crucial ingredients in what,
from here, some people look at with envy. What we need to
do is not import foreign talent but simply create the
opportunities sensitively and sensibly to develop what is
already here and, of course, build audiences to support it
financially."

Mr. Parrott's speech conveys vibrant energy and urgency in
its rapid pace, as syllables, words and ideas tumble over
one another, and incisive intelligence in its
articulateness. All those qualities will be needed to
breathe life and purpose into a group that has shown
flashes of brilliance amid expanses of bare competence or
mediocrity, and into the early- music scene here generally.


The New York Collegium, a small period-instrument band with
chorus, was founded in 1999 by Michael Feldman, who also
founded the St. Luke's Chamber Ensemble in 1974 and oversaw
its evolution into the thriving Orchestra of St. Luke's,
then left it in 1995. Even before the collegium's first
concert, he espoused grand visions in The New York Times:
"I'd like to jump over the Classical and early Romantic
repertory and have a second organization, called the
Romantic Orchestra Project, that would begin with the
1840's and move up through Wagner."

It is questionable whether any of the more established
groups in Europe that have tried such an audacious leap,
like Roger Norrington's London Classical Players, have
succeeded. One thing is sure: they at least got good before
they went big.

"That's not realistic," Mr. Parrott said of the Romantic
imperative. "It wasn't realistic then. First you've got to
put in the hard work to do this repertory really well."

Mr. Feldman resigned in June 2000, and Ms. Endicott took
over the next month. Last year, she signed Mr. Parrott to a
three-year contract.

What may be a more realistic hope for the collegium now is
recordings, at least small-scale ones, since Mr. Parrott
has been widely recorded, and he continues to work even
amid the current chaos of the classical- record business.
But funds must first be raised, and Mr. Parrott has no
interest in the likes of Vivaldi's "Four Seasons." He wants
to find a real need in the recorded repertory and fill it.

"Parrott is the most original thinker among conductors of
Baroque music," said Nicholas Kenyon, the director of the
BBC Proms in London and an avid follower of early music
around the globe. Mr. Parrott slowly rose to a lofty
position in a crowded field in London. Here he starts at
the top. But then, so did Mr. Pinnock and Mr. Leonhardt.


MR. PARROTT was born in Walsall in 1947 to a not
particularly musical family. His father was a local
businessman; his mother went back to school in midlife and
became a teacher. He experimented with many instruments
early on "with greed and huge arrogance," he said, and he
learned to play several. But he had settled on keyboards by
the time he reached Oxford to study music, mainly history
and theory.

There, although actual music- making was not part of the
curriculum, he began conducting concerts, starting with a
program of Tudor music, "because that was what I was meant
to be studying, and I had no idea what it sounded like," he
said. He also took up singing, "because it made conducting
easier," allowing him to demonstrate phrasing by example.
Then came the Taverner group and a busy career as a
performer. He has not composed much.

"I feel a failure in that if I had been an 18th-century
musician, I'd have been a composer," he said. "I have not
found a way to do that in my musical life, though I've made
tentative, small steps by arranging and doctoring other
composers' music."

Mr. Parrott, who lives in Stanton St. John on the outskirts
of Oxford with his wife, the soprano Emily van Evera, and
their daughter, expects to conduct half of the collegium's
four or five programs a season. He originally hoped to open
next season with Monteverdi's 1610 Vespers, but that has
been put off, probably until 2003- 4. Wisely, one suspects,
Mr. Parrott intends to concentrate on developing the
strings before getting embroiled with exotic brass
instruments. He will therefore start the season with
Handel's "Israel in Egypt" in November and end it with
Biber's Easter Mass in the spring of 2003.

Beyond that, he intends to keep exploring for new finds,
new adventures. His real specialty, he said, is making life
difficult for himself.

And others, evidently: "I'm learning," Ms. Endicott chimed
in.

Greed again, in Mr. Parrott's summary: "I am in this
business because I am selfish and greedy, musically, to
learn more." When he does, you may be sure, he will pass it
on with his typical brimming enthusiasm. Here's hoping that
he can engender the same in the collegium players and
singers.  

http://www.nytimes.com/2002/02/03/arts/music/03OEST.html?ex=1013710280&ei=1&en=670bbd72e583ceb0


#402 From: "Yoel L. Arbeitman" <Yoel@...>
Date: Sun Feb 3, 2002 12:49 pm
Subject: Re: From the NY Times: Bringing Hope For Early Music
hieroluwian
Send Email Send Email
 
At 11:56 PM 2/2/02, TeriNoelTowe@... wrote:
(Fwding a NYTimes article)
Mr. Parrott, who conducted a concert in each of the
collegium's first three seasons, makes his debut as music
director on Friday evening at the Church of St. Vincent
Ferrer on the Upper East Side of Manhattan, with a
performance of Bach's "St. John Passion" that promises to
raise eyebrows. For openers, the work itself has been
deemed controversial in recent years for what many perceive
to be anti- Semitism contained in St. John's text and
enhanced in Bach's score. All of this figured in a book by
the musicologist Michael Marissen, "Lutheranism, Anti-
Judaism and Bach's `St. John Passion' " (1998), which
tended to exculpate Bach, and the work now often comes
accompanied by a symposium airing the issues fully.

The collegium will deal with the matter in a preconcert
lecture. For the rest, Mr. Parrott counts on the listener
to make the necessary distinctions and allowances.

"The best warning against anti-Semitism is to know that our
forefathers were guilty of it," he said, referring to his
own father, who, as a boy in London in the 1920's, joined
friends in mocking their counterparts from the Jewish
school across the street for the way they looked. "With
hindsight, he was desperately ashamed, but to pretend that
it never happened is much more dangerous.
(Snip)
THREE THOUSAND CHEERS FOR THE RARE HONEST HUMAN BEING LEFT.
YOEL WHO RARELY SEES ANY TRUTH ACKNOWLEDGED RE THE PASSIONS AND OTHER
SACRED MUSIC. INASMUCH AS BACH'S PASSIONS ARE THE GREATEST VOCAL SETTINGS
OF ALL MUSIC, SUCH ACKNOWLEDGEMENT IS TRULY VITAL.
IT IS EVER SO RARE.

#403 From: TeriNoelTowe@...
Date: Tue Feb 5, 2002 6:52 am
Subject: From the NY Times: Silent Earthlings Onstage, Bach's Celestial Vision in the Pit
terinoeltowe
Send Email Send Email
 
Silent Earthlings Onstage, Bach's Celestial Vision in the Pit

February 5, 2002

By BERNARD HOLLAND




LOS ANGELES, Feb. 3 - Here at the Dorothy Chandler
Pavilion, Bach's B minor Mass is paying a visit to the
theater. Bach never quite makes it to the stage, but there
is plenty of room to submerge his chorus, orchestra and
vocal soloists in the pit. There, out of sight and
relatively out of earshot, they can provide support for the
German director Achim Freyer's somnolent stage pictures
above and behind them.

"It's an anatomy of the nature of mankind," Mr. Freyer said
to an interviewer about his venture. "It's about a
desperate attempt to overcome the solitude of mankind and
the solitude of the individual human being." Quite an
undertaking for a two-hour Saturday afternoon in sunny
Southern California.

This B minor Mass, imported from Germany by the Los Angeles
Opera, keeps most of our senses busy. Nine dancer-mimes,
swaddled from head to toe and wearing enormous shoes,
resemble rough clay figures. Their backdrop - anatomical
and architectural doodles projected against a scrim and a
raked stage - add to the image of the artist at his sketch
pad. Gestures are mostly slow, sometimes sudden; all are
rehearsed with fanatical precision.

Mr. Freyer rejects the idea of musical illustration, or any
eye-to-ear correspondence. This is mostly true but
sometimes not. Powerful musical attacks are met by shifting
colors and intensity of light. The performers can be seen
reaching upward at the "Et expecto resurrectionem
mortuorum" or climbing ladders at similar points in the
liturgy.

Bach's Mass is not a workable church piece, being alien to
his own Lutheran practices and a bad fit with Roman
Catholic procedure. Rather it is an archetype for Masses in
general: one of a series of summings-up that occupied him
in his last years. It is also a staggeringly beautiful
work: music that achieves monumental size not through
volume or brute force but by profound inner workmanship and
utter sincerity. It is hard to understand what it was doing
in the pit of an opera house.

Serving Mr. Freyer's needs is the only answer that
immediately comes to mind. The eyes dominate our other
senses and this production knows it. The theater experience
focuses them on movement and design. Muffled and obscured,
Bach's music comes out to the audience from a distance.
Peter Schreier conducted the house's orchestra and chorus
and brought with him four vocal soloists from Europe:
Simone Nold, Annekathrin Laabs, Marcus Ullmann and Stephan
Loges. The orchestra's high trumpets worked hard and well,
as did the chorus. Mr. Schreier's young soloists were first
rate.

One of Mr. Freyer's recent coups has been a production of
"Die Zauberflöte" at the Salzburg Festival; recreating
Mozart as a series of circus acts was highly imaginative.
Each new gesture brought its own surprise, and each effect
was meticulously achieved. Still, one came away from those
Salzburg performances thinking about Achim Freyer a lot and
Mozart very little. Mr. Freyer's B minor Mass is more
subdued and less eventful, but the aftertaste is pretty
much the same. Generally sedate Los Angeles patrons on
Saturday offered quite a few boos.

Musical arithmetic has its own laws, and one result is that
one plus one sometimes equals less than two. Adding theater
to Bach's music, in other words, stifles and subtracts by
forcing eye and ear to compete in a war of attrition.
Americans can only envy the German government's largess to
adventurous artists, but in this case one wished the
marketplace had been around to work its will on
pretentious, self-serving enterprises like this one. There
are four more performances running from Wednesday to Feb.
15.

http://www.nytimes.com/2002/02/05/arts/music/05BACH.html?ex=1013917461&ei=1&en=3b46b7ad9c33e11c

#404 From: TeriNoelTowe@...
Date: Thu Feb 14, 2002 11:13 pm
Subject: From the New York Times: Bach Passion Scaled Small
terinoeltowe
Send Email Send Email
 
Bach Passion Scaled Small, With Emotions Writ Large

February 14, 2002

By PAUL GRIFFITHS




The New York Collegium clearly made the right decision in
appointing Andrew Parrott its music director: Friday's
performance of Bach's "St. John Passion" at the Church of
St. Vincent Ferrer on Lexington Avenue was consistently
fluent, finely beautiful and movingly expressive.

Mr. Parrott has made his reputation as a musician-scholar,
and here the Collegium was benefiting from both sides of
him. He chose to perform Bach's revised score of 1749; more
predictably for him, he chose to do so with a choir of just
eight singers - the four soloists joined by four colleagues
in the choral movements - and an instrumental ensemble of
18. This was where the musician in Mr. Parrott took over,
for with these small forces he was able to present the
monumental work as chamber music, which seemed no
diminishment at all, but an elevation.

For one thing, textures and harmonies were so much clearer.
The effect was plain from the opening chorus, where the
poignant stress of dissonances in the flutes and oboes came
right into prominence. The intensity of Bach's harmony was
fully pronounced at later points of extremity, not least
the depiction of Peter's shame and some of the choruses in
the trial scene.

There were also musical-dramatic benefits in having the
work sung by so small a group. Instead of swinging between
massive choruses and solo moments, offering a pageant of
the past, the entire work was individualized and brought
forward: here were eight people, with voices one came to
recognize, telling each other and their audience the story.
The singers we were hearing as Jesus and the Evangelist
were there again in the bloodthirsty Jerusalem crowd, and
there, too, in the imaginary choir of 18th-century
Leipzigers invoked by the chorales. The material was coming
from the first century and from the Baroque, but the music
was happening now.

Among the soloists, Mark Bleeke was a wonderful Evangelist,
delivering his message with touching freshness, quick in
his responses, full of variety in phrasing and
accentuation, a natural storyteller but an ardently musical
one. Curtis Streetman, as Jesus, was fresh, too, and
vividly human, if sometimes inclined to beautify every
word. Elaine Lachica was a lively soprano, ably controlling
an almost vibrato-free flame of a voice, and Jennifer Lane
splendidly conveyed - and conjoined - the grief and the
jubilation of "Es Ist Vollbracht," with nice support from
Lisa Terry on viola da gamba. Thomas Meglioranza got some
suitable self-doubt into his warmly persuasive declamation
as Pilate.

http://www.nytimes.com/2002/02/14/arts/music/14COLL.html?ex=1014727910&ei=1&en=c2f3a0b1a8d510bd




#405 From: "Jacques Anctil" <anctil.jacques@...>
Date: Fri Feb 15, 2002 8:07 pm
Subject: Re: Digest Number 148
anctil.jacques@...
Send Email Send Email
 
Please remove my name from this mailing list
Thank you
----- Original Message -----
From: <BachJS@yahoogroups.com>
To: <BachJS@yahoogroups.com>
Sent: Friday, February 15, 2002 4:00 AM
Subject: [BachJS] Digest Number 148


> There is 1 message in this issue.
>
> Topics in this digest:
>
>       1. From the New York Times:  Bach Passion Scaled Small
>            From: TeriNoelTowe@...
>
>
> ________________________________________________________________________
> ________________________________________________________________________
>
> Message: 1
>    Date: Thu, 14 Feb 2002 23:13:01 EST
>    From: TeriNoelTowe@...
> Subject: From the New York Times:  Bach Passion Scaled Small
>
> Bach Passion Scaled Small, With Emotions Writ Large
>
> February 14, 2002
>
> By PAUL GRIFFITHS
>
>
>
>
> The New York Collegium clearly made the right decision in
> appointing Andrew Parrott its music director: Friday's
> performance of Bach's "St. John Passion" at the Church of
> St. Vincent Ferrer on Lexington Avenue was consistently
> fluent, finely beautiful and movingly expressive.
>
> Mr. Parrott has made his reputation as a musician-scholar,
> and here the Collegium was benefiting from both sides of
> him. He chose to perform Bach's revised score of 1749; more
> predictably for him, he chose to do so with a choir of just
> eight singers - the four soloists joined by four colleagues
> in the choral movements - and an instrumental ensemble of
> 18. This was where the musician in Mr. Parrott took over,
> for with these small forces he was able to present the
> monumental work as chamber music, which seemed no
> diminishment at all, but an elevation.
>
> For one thing, textures and harmonies were so much clearer.
> The effect was plain from the opening chorus, where the
> poignant stress of dissonances in the flutes and oboes came
> right into prominence. The intensity of Bach's harmony was
> fully pronounced at later points of extremity, not least
> the depiction of Peter's shame and some of the choruses in
> the trial scene.
>
> There were also musical-dramatic benefits in having the
> work sung by so small a group. Instead of swinging between
> massive choruses and solo moments, offering a pageant of
> the past, the entire work was individualized and brought
> forward: here were eight people, with voices one came to
> recognize, telling each other and their audience the story.
> The singers we were hearing as Jesus and the Evangelist
> were there again in the bloodthirsty Jerusalem crowd, and
> there, too, in the imaginary choir of 18th-century
> Leipzigers invoked by the chorales. The material was coming
> from the first century and from the Baroque, but the music
> was happening now.
>
> Among the soloists, Mark Bleeke was a wonderful Evangelist,
> delivering his message with touching freshness, quick in
> his responses, full of variety in phrasing and
> accentuation, a natural storyteller but an ardently musical
> one. Curtis Streetman, as Jesus, was fresh, too, and
> vividly human, if sometimes inclined to beautify every
> word. Elaine Lachica was a lively soprano, ably controlling
> an almost vibrato-free flame of a voice, and Jennifer Lane
> splendidly conveyed - and conjoined - the grief and the
> jubilation of "Es Ist Vollbracht," with nice support from
> Lisa Terry on viola da gamba. Thomas Meglioranza got some
> suitable self-doubt into his warmly persuasive declamation
> as Pilate.
>
>
http://www.nytimes.com/2002/02/14/arts/music/14COLL.html?ex=1014727910&ei=1&
> en=c2f3a0b1a8d510bd
>
>
>
>
> [This message contained attachments]
>
>
>
> ________________________________________________________________________
> ________________________________________________________________________
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>

#406 From: "WILLIAM P KITSON" <baroque1@...>
Date: Sat Mar 9, 2002 10:26 pm
Subject: Introduction
baroque41
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G'Day All,
             I am a "JSBach NUT" from Australia;
originally an English Migrant - Now over 62 "old";
have Books, Cassettes, LPs, CDs, even VCRs
with JSB on them.
 
& I tend to be a Bit (lot) eccentric !?*.
Bill(Y).

#407 From: Michael Grover <michael.grover.hijp@...>
Date: Mon Mar 11, 2002 3:27 pm
Subject: RE: Introduction
mwgrover
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Welcome, Bill(Y),
 
Glad to have you aboard, assuming you are a new subscriber.  A word of advice, however: this group (JSBach) is essentially dead.  I highly recommend you join the Bach Recordings Mailing List if you haven't done so already.  You can look forward to dozens of messages a day in that group.
 
 
Michael
 
-----Original Message-----
From: baroque1@... [mailto:baroque1@...]
Sent: Saturday, March 09, 2002 4:27 PM
To: BachJS@yahoogroups.com
Subject: [BachJS] Introduction

G'Day All,
             I am a "JSBach NUT" from Australia;
originally an English Migrant - Now over 62 "old";
have Books, Cassettes, LPs, CDs, even VCRs
with JSB on them.
 
& I tend to be a Bit (lot) eccentric !?*.
Bill(Y).


Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.

#408 From: TeriNoelTowe@...
Date: Thu Mar 21, 2002 12:34 am
Subject: 3/21/1685
terinoeltowe
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Today is the 317th anniversary of the birth of Johann Sebastian Bach.

#409 From: TeriNoelTowe@...
Date: Fri Jul 5, 2002 7:06 am
Subject: July 5, 1879
terinoeltowe
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Today is the 123rd anniversary of the birth of the incomparable and unsurpassable Wanda Landowska.

#410 From: "Jacques Anctil" <anctil.jacques@...>
Date: Sun Jul 7, 2002 3:40 am
Subject: Re: Digest Number 153
anctil.jacques@...
Send Email Send Email
 
Remove my name from this mailing list

----- Original Message -----
From: <BachJS@yahoogroups.com>
To: <BachJS@yahoogroups.com>
Sent: Friday, July 05, 2002 11:20 PM
Subject: [BachJS] Digest Number 153


>
> There is 1 message in this issue.
>
> Topics in this digest:
>
>       1. July 5, 1879
>            From: TeriNoelTowe@...
>
>
> ________________________________________________________________________
> ________________________________________________________________________
>
> Message: 1
>    Date: Fri, 5 Jul 2002 07:06:40 EDT
>    From: TeriNoelTowe@...
> Subject: July 5, 1879
>
> Today is the 123rd anniversary of the birth of the incomparable and
> unsurpassable Wanda Landowska.
>
>
> [This message contained attachments]
>
>
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> ________________________________________________________________________
> ________________________________________________________________________
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> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
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>

#411 From: "dgljr73" <dlebutjr@...>
Date: Fri Jul 19, 2002 2:41 pm
Subject: Guten Tag!!!!!!!!
dgljr73
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My name is David Glenn Lebut Jr.  I am 29 years old and have
been a "Bach Conisseur" for most of that time.

      Here are three questions for debate:

1.) Which do you think is the PROPER setting for Bach's large-scale
(and even small-scale) religious works--in church or in concert
hall????

2.) What to you is THE Bach Organ?????

3.) Which do you think is the better practice of performing Bach's
keyboard oeuvre--on period instruments or on piano????

-David Glenn lebut Jr.

#412 From: TeriNoelTowe@...
Date: Tue Oct 1, 2002 7:48 am
Subject: Wendy Hilton, 71, Specialist in Recreating Baroque Dance, Is Dead
terinoeltowe
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Click here: Wendy Hilton, 71, Specialist in Recreating Baroque Dance, Is Dead

Wendy Hilton, 71, Specialist in Recreating Baroque Dance, Is Dead

By JENNIFER DUNNING

endy Hilton, a specialist in Baroque dance, died on Sept. 21 at her home in Manhattan. She was 71.

The cause was cancer, said Edward Manowitz, a friend.

Ms. Hilton, who was born in England, came to New York in 1969 to direct the Dance Collegium of Rosalyn Tureck's International Bach Society. In 1974 she joined the drama faculty at the Juilliard School, transferring the next year to the dance division.

Many of her most vivid and revealing reconstructions and choreographing of Baroque dance were created for Juilliard students. Among those dances were stagings of 18th-century pieces by Anthony L'Abbe, Louis Pecour and Raoul-Auger Feuillet. The dances were performed for the most part with a luminous purity, ease and respect that were surprising from young dancers training in the comparatively boisterous dance arts of the 20th century.

Ms. Hilton taught at schools abroad and in the United States, among them Stanford University. She worked as a dancer and a choreographer in early dance styles for BBC Television, the Handel Opera Society in London, the New York Pro-Musica Antiqua, the San Francisco Opera and the New York City Opera, where she created the dances for Thea Musgrave's "Mary, Queen of Scots" in 1981.

Ms. Hilton formed three early-dance groups, including the Wendy Hilton Baroque Dance Company in New York, created in 1984, which performed with symphony orchestras. She also worked with the Waverly Consort, the New York Conhsort of Viols and the Ensemble of Early Music.

Ms. Hilton wrote "Dances of Court and Theater" (Princeton Book Company, 1981), and with Donald Waxman wrote "Dance Pageant"(E. C. Schirmer, 1992), an anthology of Renaissance and Baroque keyboard music.

There are no immediate survivors.




















#413 From: TeriNoelTowe@...
Date: Wed Jan 29, 2003 5:23 am
Subject: Fwd: [SSCM-L] CFP: American Bach Society, New Brunswick 2004
terinoeltowe
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Teri Noel Towe

Of Counsel
Ganz & Hollinger, P. C.

1394 Third Avenue,
New York, NY 10021-0404
212-517-5500
212-772-2216 (Telefax)

The Face Of Bach


"Bach, c'est Bach, comme Dieu, c'est Dieu!" - Hector Berlioz



CALL FOR PAPERS

The American Bach Society will hold its biennial meeting April 16-18, 2004 at Rutgers University in New Brunswick, New Jersey on the theme "Images of Bach." The ABS invites proposals for papers on all aspects of Bach research, especially on the theme of the conference.

Proposals should include a brief (250-400-word) abstract that emphasizes the results and significance of original research. Abstracts should be submitted by September 1, 2003 to Daniel R. Melamed at melamed@.... Please include complete contact information.

For more information on the conference and on the American Bach Society, please visit www.americanbachsociety.org.


#414 From: Jacques Anctil <anctil.jacques@...>
Date: Thu Jan 30, 2003 1:09 am
Subject: Re: Digest Number 157
anctil.jacques@...
Send Email Send Email
 
Please,
remove my name from your mailing list
----- Original Message -----
From: <BachJS@yahoogroups.com>
To: <BachJS@yahoogroups.com>
Sent: Wednesday, January 29, 2003 6:53 AM
Subject: [BachJS] Digest Number 157


> There is 1 message in this issue.
>
> Topics in this digest:
>
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>            From: TeriNoelTowe@...
>
>
> ________________________________________________________________________
> ________________________________________________________________________
>
> Message: 1
>    Date: Wed, 29 Jan 2003 05:23:35 EST
>    From: TeriNoelTowe@...
> Subject: Fwd: [SSCM-L] CFP: American Bach Society, New Brunswick 2004
>
>
>
> <A HREF="http://www.npj.com/homepage/teritowe/index.html">Teri Noel
Towe</A>
>
> Of Counsel
> <A HREF="http://www.ganzhollinger.com">Ganz & Hollinger, P. C.</A>
> 1394 Third Avenue,
> New York, NY 10021-0404
> 212-517-5500
> 212-772-2216 (Telefax)
>
> <A HREF="http://www.npj.com/thefaceofbach/">The Face Of Bach</A>
>
> "Bach, c'est Bach, comme Dieu, c'est Dieu!" - Hector Berlioz
>
>
>
>
> [This message contained attachments]
>
>
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> ________________________________________________________________________
> ________________________________________________________________________
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#415 From: TeriNoelTowe@...
Date: Sun Feb 16, 2003 9:33 am
Subject: Time to Rid Orchestras of the Shakes
terinoeltowe
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Finally! 

Someone who not only understands the crucial and undeniable importance of early recordings as performance practice research resources but also who is prepared to go on record (pun intended) about it in a major newspaper!

Halllelujah!

Many thanks, Maestro N., many thanks!

Now who will have the courage to address the issue of what the use of portamento really was in those pre-constant vibrato days?

My apologies for the unavoidable annoyance of multiple postings.

My best and my thanks always,

Teri

PS:  If the accurate understanding of these kinds of performance practice issues is as central and as vital to you as it is to me, I fervently urge you to read Robert Philip's book on the topic, Early Recordings and Musical Style - Cambridge University Press
, 1992.

TNT

Click here: Time to Rid Orchestras of the Shakes



February 16, 2003

Time to Rid Orchestras of the Shakes

By ROGER NORRINGTON



RE there any frontiers left for what used to be called the early-music movement? As it swept the field in Monteverdi, Bach and the like in the 1960's and 70's, the movement became closely identified with period instruments. In recent decades, period bands, playing in what is now called historically informed style, have been expanding their terrain to include Mozart, Beethoven, Schubert, Mendelssohn and even later composers.

But the performance of early music has always been more about how you approach and play the music than about what you play it on, and historically informed practice has long since progressed into the mainstream. Many of the key elements that once embarrassed "modern" performers — tempo, orchestral seating, bow speed, articulation — are now almost taken for granted. It is rare to come across a really slow andante movement in a Mozart symphony. The great remaining question is the sound orchestras made in the Romantic era.

As audiences, we have already got used to the idea that the music of Monteverdi or Bach is normally played and sung with pure tone, without the use of steady vibrato, a minute fluctuation of pitch intended to make the sound more intense. With the aid of period orchestras we are gradually accustoming ourselves to the same sound for Haydn and Mozart — even, on occasion, for Beethoven. But surely here, on the threshold of the Romantic era, pure tone must be questionable. Wouldn't orchestras from at least Berlioz's time on have used vibrato like that used today?

Not at all. Far from being a characteristic of the 1830's, vibrato did not become common in European or American orchestras until the 1930's. Yet remarkably, players and listeners alike seem to have become entirely used to an orchestral sound that not one of the great composers before that time would have expected or imagined. When Berlioz and Schumann, Brahms and Wagner, Bruckner and Mahler, Schoenberg and Berg were composing their masterpieces, there was only one orchestral sound: a warm, expressive, pure tone, without the glamorized vibrato we are so used to.

"Glamorous" describes the new sound well. The very word was little used before the 1920's. It arrived with Hollywood, aerodynamic car design, radio, ocean liners and the early days of flight. It coincided with other attempts to modernize concertgoing, like the reseating of orchestras with first and second violins juxtaposed rather than opposite each other, the replacement of gut strings with steel and the gradual elimination of applause between movements of symphonies and concertos.

True, some kinds of vibrato had always been known for soloists, whether singers or players. In the 18th and 19th centuries it was an expressive device, used to inflect long notes or to underline especially passionate moments. What was new in the 20th century was the idea of a continuous vibrato, used on every note, however short.

The great Austrian violinist Fritz Kreisler seems to have started the fashion, drawing on the style of cafe musicians and Hungarian and Gypsy fiddlers. Yet listening to Kreisler's recordings, one is struck by the delicacy of his vibrato: much more a gentle shimmer than the forced pitch change one often hears today.

Although many soloists stood against it, the new mannerism caught on quickly. Still, it was strongly and steadily resisted in one area: in orchestras, particularly German orchestras. The whole process can be heard in recorded performances. Recording came in just as the vibrato era was beginning. From 1900 on, one can hear great soloists and great orchestras at first playing with the pure tone of the previous century, then gradually changing to what we know today.

But only gradually. In the early 20's the more sensuous and entertainment-minded French players began to experiment with continuous vibrato, and the British followed suit in the late 20's. But the high-minded Germans and most of the big American institutions held out until the 30's. The Berlin Philharmonic does not appear on disc with serious vibrato until 1935 and the Vienna Philharmonic not until 1940.

During the first half of the 20th century, therefore, violin concertos were recorded with vibrato from the soloist but with pure tone from the best orchestras in Germany. It seemed normal at the time.

Some regarded the soloists as vulgar. Others thought the orchestras old-fashioned. Curiously, we hear little about this momentous change from those who lived through it. True, Schoenberg likened vibrato to the unpleasant sound of a billy goat. But what did Elgar feel as his noble world slipped away? And what about all those conductors — Toscanini, Furtwängler, Weingartner, Klemperer — brought up with one sound, then offered another by the orchestras they worked with?

Players probably had more to do with the change than conductors did. Fights must have taken place in orchestras all over America as, for instance, a French-trained flutist joined the Boston Symphony or the Philadelphia Orchestra and introduced the woodwinds to his new ideas.

A central figure in this struggle was Arnold Rosé, the concertmaster of the Vienna Court Opera and the Vienna Philharmonic from 1881 until 1938, when the Nazis threw him out. He led the orchestra all the time Mahler, his brother-in-law, directed the opera. We can hear Rosé on records with his string quartet as late as 1928, playing with exemplary clarity and naturalness and without anything resembling modern vibrato.

So if pure tone was good enough for all those great composers, what are we missing when we hear a modern glamorized orchestral tone? When the glamorous makeup falls away, the sound of an orchestra gains in many ways. The texture becomes transparent; you can hear right inside the sound. Discords are more serious and astringent.

Because the sound is not glamorized, phrasing becomes more important. Nowadays symphony orchestras tend to rely on sound rather than shape. But music is not about sound. Sound is simply its material (as paint is for painting). What music is about is gesture, color, shape, form and, especially, emotional intensity.

In addition, pure tone restores a crucial feature of 19th-century music: its innocence. We tend to think of Baroque music as having a monopoly on innocence. Yet it is certainly a feature of Mendelssohn's music, and it is equally important in Brahms and Tchaikovsky.So can this clear, noble 19th-century sound return to normal orchestral life? Several modern orchestras have already changed their seating to the European system the great masters wrote for. Those orchestras could just as easily change their sound, too, back to that of Mendelssohn, Brahms or Mahler.

The reason to do so is not because pure tone is "authentic" but because it is beautiful, expressive and exciting.

Copyright 2003 The New York Times Company | Privacy Policy





Teri Noel Towe

Of Counsel
Ganz & Hollinger, P. C.

1394 Third Avenue,
New York, NY 10021-0404
212-517-5500
212-772-2216 (Telefax)

The Face Of Bach


"Bach, c'est Bach, comme Dieu, c'est Dieu!" - Hector Berlioz






#416 From: TeriNoelTowe@...
Date: Fri Mar 21, 2003 6:01 am
Subject: March 21, 1685
terinoeltowe
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Today is the 318th anniverary of the birth of Johann Sebastian Bach.

Teri Noel Towe

Of Counsel
Ganz & Hollinger, P. C.

1394 Third Avenue,
New York, NY 10021-0404
212-517-5500
212-772-2216 (Telefax)

The Face Of Bach


"Bach, c'est Bach, comme Dieu, c'est Dieu!" - Hector Berlioz




#417 From: TeriNoelTowe@...
Date: Sat Jul 5, 2003 6:34 pm
Subject: July 5, 1879
terinoeltowe
Send Email Send Email
 


Today, July 5, 2003, is the 124th anniversary of the birth of Wanda Landowska.


Teri Noel Towe

Of Counsel
Ganz & Hollinger, P. C.

1394 Third Avenue,
New York, NY 10021-0404
212-517-5500
212-772-2216 (Telefax)


The Face Of Bach


"Bach, c'est Bach, comme Dieu, c'est Dieu!" - Hector Berlioz






#418 From: TeriNoelTowe@...
Date: Sun Jul 6, 2003 10:08 am
Subject: July 5, 1879
terinoeltowe
Send Email Send Email
 


Today, July 5, 2003, is the 124th anniversary of the birth of Wanda Landowska.


Teri Noel Towe

Of Counsel
Ganz & Hollinger, P. C.

1394 Third Avenue,
New York, NY 10021-0404
212-517-5500
212-772-2216 (Telefax)


The Face Of Bach


"Bach, c'est Bach, comme Dieu, c'est Dieu!" - Hector Berlioz






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