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Doublereed Archive - Posting 000088.txt from 2006/01

From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] Tinny-Ness of gramophones
Date: Mon, 30 Jan 2006 17:14:54 -0500

I heard Ray Still comment on that fellow's playing once. He said, "if I was
willing to sound like that, I could also play all that stuff that fast". If
not verbatim, it was very close to that.
Herb

On 1/30/06 4:39 AM, "cflat" <cflat@-----.net> wrote:

> 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 alright 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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