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: Hi, Everyone. My name is Larry Toomey, and I live in Philadelphia. As stated in the re: to Bruce Grahah, his 3/13/101, I was just surfing looking for some Schutz sites, and this one intrigued me. Looking for sites because I would hope to find a source for a compact disc replicating the LP that I have, mentioned in the "re:". (If there are any semi-pro/pro musicians listening, this is your cue! HELP!!). I'd like to post the data of that LP to help those of you who are researching. I have about two cd's of Schutz, but nothing matches this LP(everything else I've come across including the two cd's I have will put you to sleep), and I wish Columbia would re-release it as a cd, or rerecord it in the same format and sequence with a new ensemble, or some musical group (as I said above, this is your cue!) would make a recording of these pieces in the same format and sequence. I bought the album on a whim. I think I already had a Gregorian Chant by the time I bought this, but this field--pre 1750/1770-- was not at the time, still isn't, my strong point. I was into Liszt's Les Preludes, Opera without Words(Music Suites Only), Mendelsohn, Schumann, Mahler Symphonies---those areas. I always liked noisy stormy loud thunderous classical music. I like brass (and percussion) very much. I started in some aspects with the Russian school-- such as Prince Igor Overture, Gayne, Polovetsian Dances, Sabre Dance, Tchaikovsky's 4th Symphony-- but I've centered on the Czechs/Central Europeans and the Scandinavians, because they have refined and honed the dark, somber, stormy, which Russians and Germans are noted for, to a particular icy, crystal clarity---to me they are the epitome. But I always pursued the obscure. In fact, when I bought my Stokowski Carmina Burana, which was upon auditioning it, next to it was Stravinsky's Oedipus Rex (Robert Craft, on Angel). I knew nothing of Stravinsky except he wrote 12-tone, which I don't like, and I swore I'd never buy anything of his, having heard Firebird. But I was familiar with Socrates' Play, and I had gotten into opera (Verdi's Otello) becuase I found theatre, in its lack of music, too dry---Verdi became for me a suitable rendition of very good Shakespeare. I didn't realize when I bought this (Oedipus) that the two are often paired together---it took me years to find that out. So I have many LP's--and now cd's also-- (collection never cataloged) which because of their obscure nature would make a scholar very happy, I am sure. But, allow me to discuss further this Schutz LP. To me, this is a/The definitive Schutz recording and a great intro to any Schutz novice, for its selection, ensemble and the power of the performance. Actually, it's a two-way power trip---the choices performed, and the impressive ensemble with their impressive performance. I like bassos---Goudonov, Baron Scarpia, Paul Robeson, even the fella in the Oak Ridge Boys. There is good basso work in this LP. The recording should be regarded as definitve and historically valuable as Rachmaninoff's Symnphonic Dances/Casella's Paganiniana (Ormandy, PhilaOrch, Columbia). Attendite Popule Meus (SymSac Vol 1), Du Schalkskneckt (Geistliche Chor-Musik 1648), Es ging ein Saman aus, zu saien Samen(SymSac Vol 3), Anima mea liquefacta est <and> Adjuro vos, filiae Jerusalem (SymSac Vol 1), Interbrachia Salvoatoris Mei <and> Deus,miseratur nostris (Cantiones Sacre 1625), Fili mi Absalon (SymSac Vol 1). Well, that's all for now. Glad to know everyone. I'll be glad to answer any questions any one has, as best as I can. Larry Toomey.

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