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Doublereed Archive - Posting 000009.txt from 2006/02
From: PhilFrei@-----.com
Subj: [DR-L] RE: Ray Still/Heinz Holliger
Date: Wed, 01 Feb 2006 17:36:11 -0500
Hi -
>Date: Tue, 31 Jan 2006 17:01:52 -0800
>From: herb fawcett herbgosia@-----.net
>
>I'm putting my money on a very non-resistant and very responsive reed.
>Herb
>
>On 1/31/06 3:19 PM, "cflat" <cflat@-----.net> wrote:
>
>>
>> How much of the thinner tone Holliger has is attributed to playing
>> a Rigoutat as opposed to a Loree? Or does it?
>> Charles
Rigatouts can sound quite rich and full.
If Holliger's reeds are indeed very non-resistant and responsive, they are
probably also wildly unstable, and one must give him credit for superb
intonation under those circumstances!
I get the impression that he prefers not to "fuss" about his reeds. He plays
whatever he has at the time of the session, and the reeds can vary in tonal
color. Hence the Bach Concerto recording with its rounder tone color. Perhaps,
for him, what you do with the tone is more important than the "basic" tone
itself.
I believe there is a distinct prejudice against technical virtuosity for some
folks. Some think that anyone who simply puts in the long hours can achieve
it, that it is simply a matter of mechanical drudgery.
I'm finding that this is not the case. There is a LOT of creative and
intellectual work involved, otherwise one can end up spending thousands of hours and
get very poor results. Also, one must come to terms with the body/mind
connection. Our culture tends to elevate the intellect and denigrate the body, and as
a result there is not a lot known about how to most efficiently acquire
physical skills.
I find myself agreeing with a Bach quote earlier. I can't recall the exact
wording. But as one achieves greater skills and can more readily deal with the
matter of just getting their fingers where they need to be at the right time,
it definitely becomes easier to let music speak for itself.
- Phil Freihofner
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