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Doublereed Archive - Posting 000085.txt from 2006/01
From: "Geoff Pearce" <oboist2@-----.au>
Subj: Re: [DR-L] Tinny-Ness of gramophones
Date: Mon, 30 Jan 2006 08:04:40 -0500
Holliger was one of those players that were around when I was a student -
of course he was very young then - when I first heard him, it was also
that CD (but it was on LP then.) I was both fascinated and repelled at
the same time. This has been the feeling much of my life. There are some
performances of his I love, and others I dislike intensely. His technique
is incredible, the sound, well, one can get used to it, and in some works
(for example some of the Bach Sonatas he does) the sound is lovely - yet
his recordings of the Mozart concerto, and the Strauss, - well his sound
is not to my taste at all - bu hey, if we all liked the same things,
what a boring world.
Anyway its past midnight and I have to be up in 5 hours.
All the best
Geoff Pearce
Sydney Australia.
-------Original Message-------
From: cflat
Date: 01/30/06 22:39:01
To: doublereed@-----.org
Subject: Re: [DR-L] Tinny-Ness of gramophones
Hi,
I had heard of Heinz Holliger but never heard Heinz Holliger.
About 4 or 5 months ago I bought one of those $5(US) CDs off of a
Dealer on Ebay to give him a listen. I popped it in the CD player
In the truck on the way to work. At first, it was a little hard
To listen to for several reasons. The sound was thinner than I am
Used to, the vibrato was so much more used and heavy, the attacks
Are very hard in places, and I had never heard Cimarosa concerto
Played so fast. No one could deny the technique though...just
Awesome. I left the CD in the truck and listened to it on the way
To and from work and by the end of the week, the bright tone quit
Bothering me and started to sound "right" and I didn't notice the
Heavy attacks anymore, and the first movement in Cimarosa started
To sound all right at the faster tempo. I had recalled a thread on
This list many years ago discussing his playing and sound and I
Went back and looked it up. I couldn't hardly find a positive
Word and I can understand that with a heavily slanted US
Membership. I think I've learned to be more open about what
Is "right". I still listen to it quite a bit and really enjoy
It. By the way, his playing of Donizetti's English Horn
Concertino is just unbelievable!
Take care,
Charles
---------- Original Message ----------------------------------
From: Barbara trautwein <mzeztee@-----.edu>
Dear Geoff (and Herb!),
Your messages are coming loud and clear and this particular
Dialogue has
Been wonderful to read!
I was taught by first and second generation Tabuteau students and
So was
Completely intolerant of any other "school" of oboe playing. My
Violinist husband bought me a Goosens recording of something and I
Just
Couldn't listen to it. I couldn't get to the musicality because I
Couldn't get past the sound. How dumb! He was able to identify
Artist
Violinists by their sounds but he was much more mature than I,
Embracing
Each for their strengths even if their sounds weren't to his
Taste. I
Think he says the same thing about the modern players . . .that
They are
Amazing fiddlers but that they are hard to distinguish, one from
Another.
When I was in college, I got to turn pages for the pianist who
Accompanied Reginald Kell when he played a recital at my school.
Again,
As someone who played clarinet before I played the oboe, I had
Trouble
Listening to the vibrato but I did manage to appreciate his
Artistry.
Now, let me tell you about my four seasons as a Cleveland
Orchestra
Subscriber when I heard Marc Lifschey play EVERY Saturday
Night. . . .
.There are some players that when you hear them, you might be
Inspired
To take your oboe and break it over your knee. When I heard
Lifschey, I
Would race home, get out the oboe and try to figure out HOW he had
Done
That magical phrase!. . . .sigh. . . .
Right! MORE dialogue! MORE "thoughts and experiences" !
2 cents,
Barbara
Sent via the EV1 webmail system at mail.ev1.net
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