info
Google Groups no longer supports new Usenet posts or subscriptions. Historical content remains viewable.
Dismiss
WAYLTL September 2021
372 views
Skip to first unread message
George M.
Sep 3, 2021, 8:44:42 PM9/3/21
to
Thanks to Gramophone Nominations listening to Abragimova take on DSCH Violin Concertos.
details here
https://musicbrainz.org/release/aa187cd5-1f9e-4124-991c-1f82c4bbb8a6
Splendid recording, tight, gripping to the bone, I'm so engulfed by violin playing that I did not pay any attention to the Orchestra (which has the longest impossible name to remember) and the Conductor.
I can't help but wonder, if Ibragimova contract with Hyperion is detrimental to her career and popularity (a career ?) as I totally missed this release and I try to pay attention to DSCH releases.
George M.
details here
https://musicbrainz.org/release/aa187cd5-1f9e-4124-991c-1f82c4bbb8a6
Splendid recording, tight, gripping to the bone, I'm so engulfed by violin playing that I did not pay any attention to the Orchestra (which has the longest impossible name to remember) and the Conductor.
I can't help but wonder, if Ibragimova contract with Hyperion is detrimental to her career and popularity (a career ?) as I totally missed this release and I try to pay attention to DSCH releases.
George M.
JohnGavin
Sep 4, 2021, 10:54:33 AM9/4/21
to
number_six
Sep 4, 2021, 1:52:28 PM9/4/21
to
I'll listen to Z and State of Siege, in memory of Theodorakis.
Maybe one of his collaborations with Maria Farantouri as well
Maybe one of his collaborations with Maria Farantouri as well
George M.
Sep 4, 2021, 3:44:20 PM9/4/21
to
I thought tide was turned around with ECM singing up for streaming.
This is just all assumptions of course, it would be nice to see some stats how streaming affects artist place on the market.
George M.
Todd M. McComb
Sep 4, 2021, 3:44:56 PM9/4/21
to
New album of music by US composer Tyshawn Sorey (b.1980), particularly
his piece _For George Lewis_ evoking Feldman in its title, and
Feldman & Cage in its musical textures... as well as some post-Romantic
tonalism later in the sequence.
https://alarmwillsound.bandcamp.com/track/for-george-lewis
Sorey took Anthony Braxton's position at Wesleyan when the latter
retired.
his piece _For George Lewis_ evoking Feldman in its title, and
Feldman & Cage in its musical textures... as well as some post-Romantic
tonalism later in the sequence.
https://alarmwillsound.bandcamp.com/track/for-george-lewis
Sorey took Anthony Braxton's position at Wesleyan when the latter
retired.
Al Eisner
Sep 5, 2021, 7:09:15 PM9/5/21
to
I'm not all that into long works of contemporary dance, but tried
this one on medici.tv, and found it quite entertaining:
https://www.medici.tv/en/ballets/midsummer-nights-dream-karlsson-alexander-ekman-royal-swedish-ballet/
(Not sure if it requires a subscription, which I have).
Midsummer Night's Dream by Alexander Ekman, music by Mikael Karlsson
(a composerr who does not appear in the rmcr archive, maybe too pop?),
with the Royal Swedish Ballet. It has nothing to do with Shakespeare.
The first act is a Swedish midsummer festival (notn much cultural
dirversity), while the second goes through stages of sleep. I was most
attracted by the music: parts jazz-inflected, others very folk-inflected,
other music of whose influeces I'm not sure. The ensemble consisted of
a string quartet, a piano, and three percussionists, the latter very
effectively used; also effective was a prominently-on-stage singer.
(There were also periods when all of these, but not the overall
production, were silent.) Anyone familiar at all with Karlsson?
--
Al Eisner
this one on medici.tv, and found it quite entertaining:
https://www.medici.tv/en/ballets/midsummer-nights-dream-karlsson-alexander-ekman-royal-swedish-ballet/
(Not sure if it requires a subscription, which I have).
Midsummer Night's Dream by Alexander Ekman, music by Mikael Karlsson
(a composerr who does not appear in the rmcr archive, maybe too pop?),
with the Royal Swedish Ballet. It has nothing to do with Shakespeare.
The first act is a Swedish midsummer festival (notn much cultural
dirversity), while the second goes through stages of sleep. I was most
attracted by the music: parts jazz-inflected, others very folk-inflected,
other music of whose influeces I'm not sure. The ensemble consisted of
a string quartet, a piano, and three percussionists, the latter very
effectively used; also effective was a prominently-on-stage singer.
(There were also periods when all of these, but not the overall
production, were silent.) Anyone familiar at all with Karlsson?
--
Al Eisner
JohnGavin
Sep 5, 2021, 7:44:16 PM9/5/21
to
JohnGavin
Sep 5, 2021, 7:53:47 PM9/5/21
to
Comparing about 5 recordings of the Bach 6 Sonatas for Violin and Keyboard. A clear winner emerges for me - It’s Leonid Kogan with Karl Richter. Neither plays an HIP instrument but there is certainly an awareness of style and balance. Vibrant, colorful playing. Richter utilizes the wide registration possibilities of his large Neupert Harpsichord.
George M.
Sep 5, 2021, 10:17:23 PM9/5/21
to
On Sunday, September 5, 2021 at 7:53:47 PM UTC-4, JohnGavin wrote:
> Comparing about 5 recordings of the Bach 6 Sonatas for Violin and Keyboard. A clear winner emerges for me - It’s Leonid Kogan with Karl Richter. Neither plays an HIP instrument but there is certainly an awareness of style and balance. Vibrant, colorful playing. Richter utilizes the wide registration possibilities of his large Neupert Harpsichord.
One of my most loved Bach compositions.
> Comparing about 5 recordings of the Bach 6 Sonatas for Violin and Keyboard. A clear winner emerges for me - It’s Leonid Kogan with Karl Richter. Neither plays an HIP instrument but there is certainly an awareness of style and balance. Vibrant, colorful playing. Richter utilizes the wide registration possibilities of his large Neupert Harpsichord.
There are times as in BWV1410.Adagio, that Richter's hpsd sounds almost like a piano... listening to it now...
https://tinyurl.com/Kogan-Karl-Richter
Did you also survey piano versions ?
My favourite for a while https://tinyurl.com/Pace-Zimmermann
JohnGavin
Sep 7, 2021, 10:40:36 AM9/7/21
to
On Sunday, September 5, 2021 at 10:17:23 PM UTC-4, George M. wrote:
> On Sunday, September 5, 2021 at 7:53:47 PM UTC-4, JohnGavin wrote:
> > Comparing about 5 recordings of the Bach 6 Sonatas for Violin and Keyboard. A clear winner emerges for me - It’s Leonid Kogan with Karl Richter. Neither plays an HIP instrument but there is certainly an awareness of style and balance. Vibrant, colorful playing. Richter utilizes the wide registration possibilities of his large Neupert Harpsichord.
> One of my most loved Bach compositions.
>
> There are times as in BWV1410.Adagio, that Richter's hpsd sounds almost like a piano... listening to it now...
Modern harpsichords are strung with overwound strings for the deep register, also known as the 16 foot stop. I can’t listen to “authentic” harpsichords with their single timbre and their overly delicate sonority.
> On Sunday, September 5, 2021 at 7:53:47 PM UTC-4, JohnGavin wrote:
> > Comparing about 5 recordings of the Bach 6 Sonatas for Violin and Keyboard. A clear winner emerges for me - It’s Leonid Kogan with Karl Richter. Neither plays an HIP instrument but there is certainly an awareness of style and balance. Vibrant, colorful playing. Richter utilizes the wide registration possibilities of his large Neupert Harpsichord.
> One of my most loved Bach compositions.
>
> There are times as in BWV1410.Adagio, that Richter's hpsd sounds almost like a piano... listening to it now...
>
> https://tinyurl.com/Kogan-Karl-Richter
>
> Did you also survey piano versions ?
>
> My favourite for a while https://tinyurl.com/Pace-Zimmermann
Thanks. I will check that out. As for recordings with piano I am fond of Dautricourt.
> https://tinyurl.com/Kogan-Karl-Richter
>
> Did you also survey piano versions ?
>
> My favourite for a while https://tinyurl.com/Pace-Zimmermann
George M.
Sep 10, 2021, 11:32:01 AM9/10/21
to
The Overtures: Original Versions
by Johann Sebastian Bach; Concerto Copenhagen, Lars Ulrik Mortensen
https://musicbrainz.org/release/46be2c5d-4bda-4cf1-89a8-c0298413897e
Very enjoyable and great recording quality.
George M.
HT
Sep 12, 2021, 4:11:28 PM9/12/21
to
Musicians are no longer dependent on the major labels, it seems. Recently, I discovered the label Artalinna (Paris) - home of these artists:
Philippe Guilhon-Herbert
François Dumont
Gabriel Urgell Reyes
Vestard Shimkus
Romain Descharmes
Hiroaki Takenouchi
Aline Piboule
Jocelyn Aubrun
Benoît Cambreling
Florian Noack
Benedek Horváth
Ran Jia
Marcos Madrigal
Erin Hales
Alessandro Deljavan
Danny Zelibor
Enrico Pompili
It is also the new home of Severin von Eckardstein, who recorded 2 CDs. The first with Gabriel Dupont's (1878-1914) "La Maison dans les Dunes" and Debussy's "Images" as filler. The second with parts of "La Maison" as filler for a recital with Chopin (Polonaise-Fantaisie), Schumann (Davidsbündler) and Tchaikovsky (Chante élegiaque).
Eckardstein is one of the great young(er) musicians of our time. Listening to these CDs, I was particularly impressed by his version of the "Polonaise-Fantaisie" (his first Chopin recording, iirc) and the "Davidsbündler".
Henk
Philippe Guilhon-Herbert
François Dumont
Gabriel Urgell Reyes
Vestard Shimkus
Romain Descharmes
Hiroaki Takenouchi
Aline Piboule
Jocelyn Aubrun
Benoît Cambreling
Florian Noack
Benedek Horváth
Ran Jia
Marcos Madrigal
Erin Hales
Alessandro Deljavan
Danny Zelibor
Enrico Pompili
It is also the new home of Severin von Eckardstein, who recorded 2 CDs. The first with Gabriel Dupont's (1878-1914) "La Maison dans les Dunes" and Debussy's "Images" as filler. The second with parts of "La Maison" as filler for a recital with Chopin (Polonaise-Fantaisie), Schumann (Davidsbündler) and Tchaikovsky (Chante élegiaque).
Eckardstein is one of the great young(er) musicians of our time. Listening to these CDs, I was particularly impressed by his version of the "Polonaise-Fantaisie" (his first Chopin recording, iirc) and the "Davidsbündler".
Henk
Andrew Clarke
Sep 12, 2021, 5:48:54 PM9/12/21
to
On Monday, September 13, 2021 at 6:11:28 AM UTC+10, hvt...@xs4all.nl wrote:
> Musicians are no longer dependent on the major labels, it seems. Recently, I discovered the label Artalinna (Paris) - home of these artists:
[snip]
> Musicians are no longer dependent on the major labels, it seems. Recently, I discovered the label Artalinna (Paris) - home of these artists:
> Eckardstein is one of the great young(er) musicians of our time. Listening to these CDs, I was particularly impressed by his version of the "Polonaise-Fantaisie" (his first Chopin recording, iirc) and the "Davidsbündler".
>
> Henk
But yes, the growth of the small independent labels is very, very encouraging. And the one great advantage of the new virtual record shops is that their recordings are just as accessible to potential buyers as the ones from the big boys. No more distribution problems.
Andrew Clarke
Canberra
Andrew Clarke
Sep 12, 2021, 11:52:32 PM9/12/21
to
Andrew Clarke
Canberra
HT
Sep 13, 2021, 8:39:11 AM9/13/21
to
Op zondag 12 september 2021 om 23:48:54 UTC+2 schreef andrewc...@gmail.com:
<g> Too much honour. Eckart and Stein represent two aspects of a Germany that no longer exists (can exist) since WWII. Nevertheless, Severin is a great pianist
Henk
Henk
Dirge
Sep 14, 2021, 5:27:12 PM9/14/21
to
I’ve been revisiting some favorite odds & ends …
François COUPERIN: «Les goûts-réunis» (1724): Concert No. 10: “Plainte”
:: Fournier, Baumgartner/Festival Strings Lucerne [DG ’65]
This beautifully unHIP and hopelessly old-fashioned arrangement and performance is difficult not to like.
Jean-Philippe RAMEAU: “Le Rappel des oiseaux” (from Suite in E minor) (p. 1724)
:: Kempff [Decca ’55]
Kempff was fond of Baroque transcriptions, and this is my favorite of his various and sundry recordings of such.
F. J. HAYDN: Piano Sonata in B minor, Hob. XVI 32 (p. 1776)
:: Levy [Unicorn ’56] Marston
My favorite recording of my favorite Haydn piano sonata, a somewhat wry and evil work by Haydn’s standards—the ideal vehicle for the somewhat wry and evil Levy.
Johannes BRAHMS: Geistliches Lied, Op. 30 (1856)
:: Pedersen/Det Norske Solistkor [BIS ’11]
This is a deceptive work of great beauty that conceals a structure of unexpected complexity—a rather ingenious double canon as it turns out. The exceedingly well-matched and balanced Norwegians sing in as pure and flawless a manner as humanly possible while managing not to sound neutral/generic/faceless—no mean trick. It’s all very sublime.
César FRANCK: Prélude, choral et fugue (1884)
:: Rubinstein [Victor ’45]
This is the most direct—brutally direct—and unfussy account of this work that I know, and my favorite. The somewhat headlong/rambunctious account of the Fugue will likely scare off those few listeners who manage to make I through the first two movements, but I like it none the less, perhaps all the more, for that. Listeners weaned on Rubinstein’s popular 1970 recording will find that the two recordings have little to do with each other.
Zoltán KODÁLY: “Epitaph” from Seven Pieces for Piano, Op. 11 (1910–18)
:: Sándor [Vox Candide ’74]
Had Liszt stumbled upon Debussy’s “La cathédrale engloutie” in his travels, it would have surely ended up in «Années de pèlerinage» sounding something like “Epitaph”—at least as played by Sándor.
Francis POULENC: «Aubade», concerto chorégraphique pour piano et 18 instruments (1929)
:: Le Sage, Denève/Orchestre Philharmonique de Liège [RCA ’03]
Although generally averse to “entertainments,” French entertainments especially, I’ve always had a soft spot for «Aubade», which is a Roaring Twenties mash-up of piano concerto and ballet in a salon-sized package. If it sometimes sounds like a WWF-sanctioned dance-off between Saint-Saëns’s «Carnival of the Animals» and Stravinsky’s Symphonies of Wind Instruments, that’s part of its charm, I suppose. It’s generally well served on record, but La Sage and company have that extra something special that sets their account apart from the rest.
Stephan WOLPE: Passacaglia from «Four Studies on Basic Rows» (1936)
:: Tudor [Esoteric ’54] hat ART
This twelve-minute twelve-tone solo piano piece is basically one big accelerating crescendo with a cool-down at the end. It has more forward sweep and a stronger sense of purpose than is common in twelve-tone music, and Tudor plays it with fearless commitment. (To me, Wolpe is at his best when he’s working in a strict form such as passacaglia, chaconne, fugue, etc., so it’s not surprising that this is a favorite of mine.)
Joaquín RODRIGO: Invocación y danza (1961)
:: P. Romero [Philips ’92]
The quasi-religious Invocation builds in tension throughout, and the release—but not quite total release—of that tension at the segue to the Dance is a downright magical little moment. Romero gives an evocative and artfully dramatic performance that’s impressively focused and precise yet wide-ranging and spirited, and it’s accomplished with a certain flinty flamenco flair to boot. He screws up tension gradually but surely in the intricately atmospheric Invocation (bringing out the tolling of the bells especially well) and releases it with a just-tempered joy at the dawning of the ambivalent Dance, which is at once joyful and nostalgic.
François COUPERIN: «Les goûts-réunis» (1724): Concert No. 10: “Plainte”
:: Fournier, Baumgartner/Festival Strings Lucerne [DG ’65]
This beautifully unHIP and hopelessly old-fashioned arrangement and performance is difficult not to like.
Jean-Philippe RAMEAU: “Le Rappel des oiseaux” (from Suite in E minor) (p. 1724)
:: Kempff [Decca ’55]
Kempff was fond of Baroque transcriptions, and this is my favorite of his various and sundry recordings of such.
F. J. HAYDN: Piano Sonata in B minor, Hob. XVI 32 (p. 1776)
:: Levy [Unicorn ’56] Marston
My favorite recording of my favorite Haydn piano sonata, a somewhat wry and evil work by Haydn’s standards—the ideal vehicle for the somewhat wry and evil Levy.
Johannes BRAHMS: Geistliches Lied, Op. 30 (1856)
:: Pedersen/Det Norske Solistkor [BIS ’11]
This is a deceptive work of great beauty that conceals a structure of unexpected complexity—a rather ingenious double canon as it turns out. The exceedingly well-matched and balanced Norwegians sing in as pure and flawless a manner as humanly possible while managing not to sound neutral/generic/faceless—no mean trick. It’s all very sublime.
César FRANCK: Prélude, choral et fugue (1884)
:: Rubinstein [Victor ’45]
This is the most direct—brutally direct—and unfussy account of this work that I know, and my favorite. The somewhat headlong/rambunctious account of the Fugue will likely scare off those few listeners who manage to make I through the first two movements, but I like it none the less, perhaps all the more, for that. Listeners weaned on Rubinstein’s popular 1970 recording will find that the two recordings have little to do with each other.
Zoltán KODÁLY: “Epitaph” from Seven Pieces for Piano, Op. 11 (1910–18)
:: Sándor [Vox Candide ’74]
Had Liszt stumbled upon Debussy’s “La cathédrale engloutie” in his travels, it would have surely ended up in «Années de pèlerinage» sounding something like “Epitaph”—at least as played by Sándor.
Francis POULENC: «Aubade», concerto chorégraphique pour piano et 18 instruments (1929)
:: Le Sage, Denève/Orchestre Philharmonique de Liège [RCA ’03]
Although generally averse to “entertainments,” French entertainments especially, I’ve always had a soft spot for «Aubade», which is a Roaring Twenties mash-up of piano concerto and ballet in a salon-sized package. If it sometimes sounds like a WWF-sanctioned dance-off between Saint-Saëns’s «Carnival of the Animals» and Stravinsky’s Symphonies of Wind Instruments, that’s part of its charm, I suppose. It’s generally well served on record, but La Sage and company have that extra something special that sets their account apart from the rest.
Stephan WOLPE: Passacaglia from «Four Studies on Basic Rows» (1936)
:: Tudor [Esoteric ’54] hat ART
This twelve-minute twelve-tone solo piano piece is basically one big accelerating crescendo with a cool-down at the end. It has more forward sweep and a stronger sense of purpose than is common in twelve-tone music, and Tudor plays it with fearless commitment. (To me, Wolpe is at his best when he’s working in a strict form such as passacaglia, chaconne, fugue, etc., so it’s not surprising that this is a favorite of mine.)
Joaquín RODRIGO: Invocación y danza (1961)
:: P. Romero [Philips ’92]
The quasi-religious Invocation builds in tension throughout, and the release—but not quite total release—of that tension at the segue to the Dance is a downright magical little moment. Romero gives an evocative and artfully dramatic performance that’s impressively focused and precise yet wide-ranging and spirited, and it’s accomplished with a certain flinty flamenco flair to boot. He screws up tension gradually but surely in the intricately atmospheric Invocation (bringing out the tolling of the bells especially well) and releases it with a just-tempered joy at the dawning of the ambivalent Dance, which is at once joyful and nostalgic.
Bob Harper
Sep 15, 2021, 1:40:03 AM9/15/21
to
On 9/14/21 2:27 PM, Dirge wrote:
> I’ve been revisiting some favorite odds & ends …
(snip)
> I’ve been revisiting some favorite odds & ends …
> Francis POULENC: «Aubade», concerto chorégraphique pour piano et 18 instruments (1929)
> :: Le Sage, Denève/Orchestre Philharmonique de Liège [RCA ’03]
> Although generally averse to “entertainments,” French entertainments especially, I’ve always had a soft spot for «Aubade», which is a Roaring Twenties mash-up of piano concerto and ballet in a salon-sized package. If it sometimes sounds like a WWF-sanctioned dance-off between Saint-Saëns’s «Carnival of the Animals» and Stravinsky’s Symphonies of Wind Instruments, that’s part of its charm, I suppose. It’s generally well served on record, but La Sage and company have that extra something special that sets their account apart from the rest.
(snip)
> :: Le Sage, Denève/Orchestre Philharmonique de Liège [RCA ’03]
> Although generally averse to “entertainments,” French entertainments especially, I’ve always had a soft spot for «Aubade», which is a Roaring Twenties mash-up of piano concerto and ballet in a salon-sized package. If it sometimes sounds like a WWF-sanctioned dance-off between Saint-Saëns’s «Carnival of the Animals» and Stravinsky’s Symphonies of Wind Instruments, that’s part of its charm, I suppose. It’s generally well served on record, but La Sage and company have that extra something special that sets their account apart from the rest.
The Nonesuch LP of Aubade with Jacques Fevrier and Serge Baido, coupled
with the Oboe and Clarinet Sonatas, was an early favorite of mine, and
my imprint for all three works. Loved the works; loved the record. I
have the le Sage, and will have to listen to it again.
Bob Harper
Frank Berger
Sep 15, 2021, 8:42:07 AM9/15/21
to
There is a good performance of Aubade with Jacquinot (Fistoulari) from 1953 or 1954 (sources seem to disagree). Quite good sound for the time, too.
HT
Sep 15, 2021, 10:18:56 AM9/15/21
to
Op woensdag 15 september 2021 om 07:40:03 UTC+2 schreef Bob Harper:
The Aubade I'm imprinted on is Poulenc as soloist, accompanied by Walther Straram and his Concerts Orchestra (never heard of in any other context). Perhaps Melmoth knows more.
Henk
Henk
Alan Cooper
Sep 15, 2021, 11:28:24 AM9/15/21
to
Has anyone listened to Isata Kanneh-Mason's Clara Schumann collection? I love Clara's op. 11 Romances but I'm not a fan of her Piano Concerto.
AC
Frank Berger
Sep 15, 2021, 12:25:28 PM9/15/21
to
https://www.theguardian.com/music/2017/mar/08/fanny-mendelssohn-easter-sonata-premiere-sheila-hayman
Alan Cooper
Sep 15, 2021, 12:33:00 PM9/15/21
to
AC
Bob Harper
Sep 15, 2021, 12:39:56 PM9/15/21
to
Bob Harper
HT
Sep 15, 2021, 1:01:06 PM9/15/21
to
Op woensdag 15 september 2021 om 17:28:24 UTC+2 schreef cooper...@gmail.com:
Thanks, Alan. Good to hear that Fanny Mendelssohn gets the attention she deserves it. Her music is often quite surprising. I cannot say that of Clara Schumann.
Henk
Henk
Dirge
Sep 15, 2021, 5:25:39 PM9/15/21
to
On Wednesday, September 15, 2021 at 12:40:03 AM UTC-5, Bob Harper wrote:
> The Nonesuch LP of Aubade with Jacques Fevrier and Serge Baido, coupled
> with the Oboe and Clarinet Sonatas, was an early favorite of mine, and
> my imprint for all three works. Loved the works; loved the record. I
> have the le Sage, and will have to listen to it again.
>
> Bob Harper
The Nonesuch (a cool and shrewdly adventurous record label if ever there was one) recording is my #1 alternative «Aubade», especially as Février and Baudo team up with that most French-sounding of French orchestras, Orchestre des Concerts Lamoureux—Martinon’s recordings with the orchestra from the 1950s are the most Gallic affairs imaginable. Février et al are at their best, I think, in the weightier and more “serious” music, which they carry out with almost martial intensity at times: the opening, for example, is the most threatening and dramatic that I’ve heard. The lighter and more jocular music may be a wee bit heavy and foursquare, but it fits in context and is perversely compelling. Le Sage et al give the more well-rounded and catholic account, I’d have to say, with the most savvily negotiated segues/transitions and well-spun dramatic narrative, but I do miss the severe/kick-butt mentality that Février et al bring to the headier passages.
> The Nonesuch LP of Aubade with Jacques Fevrier and Serge Baido, coupled
> with the Oboe and Clarinet Sonatas, was an early favorite of mine, and
> my imprint for all three works. Loved the works; loved the record. I
> have the le Sage, and will have to listen to it again.
>
> Bob Harper
It seems that the Février recording was made originally by Le Chant du Monde in ’63 or ’64 and later licensed by Nonesuch. Word on the street is that Le Chant du Monde once released it on CD coupled with works by Honegger and Sauguet, but it’s one of those impossible-to-find CDs of the kind that a certain malevolent poster here is always gleefully recommending knowing full well that you’ll never be able to find a copy … you know his all too familiar shtick: “It’s by far the greatest recording of the work in the history of the Universe and any and all parallel universes that may or may not exist, but you’ll never find it. Only I, Alan Cooper, have a copy. BLAH! HA! HA! HA! HA!”
Alan Cooper
Sep 16, 2021, 10:10:02 PM9/16/21
to
I have tried for many years to be a constructive contributor to this news group and to maintain a civilized tone, but this is the end of the road for me.
With best wishes to the good people who remain,
Alan
Todd M. McComb
Sep 16, 2021, 10:17:37 PM9/16/21
to
In article <25817c40-75c1-421f...@googlegroups.com>,
Alan Cooper <cooper...@gmail.com> wrote:
>The last sentence of the post immediately above is gratuitous,
>stupid, insulting, and offensive. Also incomprehensible to me and
>simply wrong, since I have never done or said anything like what
>is attributed to me there.
It seemed like a non-sequitur to me.
>The last sentence of the post immediately above is gratuitous,
>stupid, insulting, and offensive. Also incomprehensible to me and
>simply wrong, since I have never done or said anything like what
>is attributed to me there.
Frank Berger
Sep 16, 2021, 10:40:24 PM9/16/21
to
raymond....@gmail.com
Sep 17, 2021, 2:18:40 AM9/17/21
to
On Friday, 17 September 2021 at 12:17:37 UTC+10, Todd M. McComb wrote:
> In article <25817c40-75c1-421f...googlegroups.com>,
Ray Hall, Taree
> In article <25817c40-75c1-421f...googlegroups.com>,
> Alan Cooper <cooper...gmail.com> wrote:
> >The last sentence of the post immediately above is gratuitous,
> >stupid, insulting, and offensive. Also incomprehensible to me and
> >simply wrong, since I have never done or said anything like what
> >is attributed to me there.
> It seemed like a non-sequitur to me.
To me also. and a bad example of one if the intention was to be humorous.
> >The last sentence of the post immediately above is gratuitous,
> >stupid, insulting, and offensive. Also incomprehensible to me and
> >simply wrong, since I have never done or said anything like what
> >is attributed to me there.
> It seemed like a non-sequitur to me.
Ray Hall, Taree
HT
Sep 17, 2021, 4:03:40 AM9/17/21
to
Op vrijdag 17 september 2021 om 04:10:02 UTC+2 schreef cooper...@gmail.com:
I am sorry to see you go, Alan. You have been a great source of information and most helpful all these years. Your voice will be missed. Thank you for your companionship.
My very best wishes,
Henk
My very best wishes,
Henk
Owen
Sep 17, 2021, 12:40:18 PM9/17/21
to
-Owen
raymond....@gmail.com
Sep 17, 2021, 7:10:56 PM9/17/21
to
On Saturday, 18 September 2021 at 02:40:18 UTC+10, Owen wrote:
> > I am sorry to see you go, Alan. You have been a great source of information and most helpful all these years. Your voice will be missed. Thank you for your companionship.
> >
> I hope that your "retirement" is only as effective as DK's was.
>
> -Owen
Ditto from me as well.
> > I am sorry to see you go, Alan. You have been a great source of information and most helpful all these years. Your voice will be missed. Thank you for your companionship.
> >
> I hope that your "retirement" is only as effective as DK's was.
>
> -Owen
Ray Hall, Taree
Dirge
Sep 19, 2021, 11:43:40 PM9/19/21
to
0 new messages