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Doublereed Archive - Posting 000091.txt from 2006/01

From: "Wai Kit Leung" <wkleung11@-----.com>
Subj: [DR-L] Re: Tinny-Ness of gramophones
Date: Tue, 31 Jan 2006 08:53:33 -0500

I would be thrilled to send Mr. Still some light French reeds and see if he
could indeed play like Mr. Holliger (at least speed-wise).

Wai Kit Leung

>Date: Mon, 30 Jan 2006 14:04:37 -0800
>To: <doublereed@-----.org>
>From: herb fawcett <herbgosia@-----.net>
>Subject: Re: [DR-L] Tinny-Ness of gramophones
>Message-ID: <C003CD75.10590%herbgosia@-----.net>
>
>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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