SOUNDPOST: Letters to the editor
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LETTER OF THE MONTH
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Letter of the month wins a full set of Thomastik-Infeld Dominant violin strings. For more details about Thomastik-Infeld's full range, visit www.thomastik-infeld.com
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THE HOLE STORY
I was interested to see the article on the c.1600 Brothers Amati cello with a filled-in hole in its back (Brothers Amati, February). This would originally have been a fixing-point for a carrying strap to enable the cellist to play the instrument while standing. Ever since I owned a similar German cello, made in 1696, I have been intrigued by this type of processional instrument, which is sometimes called a church bass. The ‘hole’ feature usually appears in instruments pre-dating 1710, and there are a number of examples by makers such as Grancino. Although there are surviving 16th- and 17th-century pictures of such instruments being played, I had never actually witnessed a cello being played in this style until I came across a Polish folk group from the Tatras Mountains (pictured). While the posture seems unconventional at first glance, it may in fact give a valuable insight into a technique dating back to the Baroque era. |
STEPHEN SENSBACH
Dublin, Ireland
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GUT FEELING
It was a joy to read James Boyd’s article on the neglected qualities of gut strings (Having the Guts, April). We have both been loyal to gut strings for many years and can verify the author’s experience. We hope the article will rally a revival of the genuine tone and nuance only achievable with gut strings.
CHRISTIAN BROSSE AND OLIVER HIRSH
Denmark
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PHILHARMONIC ON FILM
It was reassuring to read that the Berlin Philharmonic’s members ‘are not asked to compromise [their] art’ in the way that their American counterparts apparently are (A Glowing Reputation, March). It therefore follows that when they do, it is of their own free will. The orchestra seems to have acquired a taste for performing glossily kitsch film scores (most recently for Earth, Deep Blue and Perfume). Reading the orchestra’s media representative waxing enthusiastic about the huge numbers of people reached through these enterprises made me wonder just how many film fans even noticed who was playing on the soundtrack and, even if they did, how many will attend one of the orchestra’s concerts as a result. It is sad to see one of the best ensembles in the world wasting its time with this kind of stuff, the more so when a few miles down the Autobahn, the Deutsches Filmorchester Babelsberg, which – as its name implies – specialises in film music, is struggling to make ends meet.
CARLOS MARÍA SOLARE
Berlin, Germany
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SCHUBERT RONDO FOUND
Ronald de Lima wrote a letter to The Strad (Soundpost, April 2006) asking for information on the availability of the sheet music for the Rondo from Schubert’s Piano Sonata in D major D850 arranged by Carl Friedberg. During World War II, when I was touring Australia, I performed the Rondo many times: it was a favourite among all kinds of audiences, including the troops stationed in every corner of the country. Later, when I was teaching, I introduced it to my pupils. If Mr. de Lima is still looking for a copy, I’m happy to pass mine on to him.
LYNDALL HENDRICKSON
Australia
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LETTEROF THEMONTH POPULAR CLASSICS
The observation by Duke Ellington quoted in Judith Kogan’s feature ‘Crossing Over to the Dark Side?’ (April) that there are two types of music – good and bad – seemed to infer that music produced after careful thought by an experienced and skilful musician is more likely to be ‘good’ than that which emerges from a jam with enthusiastic but inexperienced adolescents. This is not necessarily so. Most composers write their music in the hope of it becoming popular and, yes, lucrative. What we now consider ‘classical’ music was the pop of its day. Music attains ‘classic’ status if it has the ability to outlast contemporary trends and survive through the generations. Arthur Sullivan didn’t rate the work he produced with W.S. Gilbert, but it is their operas that are still widely performed today, rather than the frankly feeble ‘classical’ music by which he hoped to be remembered. If young players want to explore all means of expression, then they should be encouraged to do so: the best musicians among them will soon tire of the lightweight of any genre and will seek satisfaction from worthwhile sources.
BRYN GLOVER,
Yorkshire, UK
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It was a joy to read James Boyd’s article on the neglected qualities of gut strings (Having the Guts, April). We have both been loyal to gut strings for many years and can verify the author’s experience. We hope the article will rally a revival of the genuine tone and nuance only achievable with gut strings.
CHRISTIAN BROSSE AND OLIVER HIRSH
Denmark
To respond to this letter, click here
PHILHARMONIC ON FILM
It was reassuring to read that the Berlin Philharmonic’s members ‘are not asked to compromise [their] art’ in the way that their American counterparts apparently are (A Glowing Reputation, March). It therefore follows that when they do, it is of their own free will. The orchestra seems to have acquired a taste for performing glossily kitsch film scores (most recently for Earth, Deep Blue and Perfume). Reading the orchestra’s media representative waxing enthusiastic about the huge numbers of people reached through these enterprises made me wonder just how many film fans even noticed who was playing on the soundtrack and, even if they did, how many will attend one of the orchestra’s concerts as a result. It is sad to see one of the best ensembles in the world wasting its time with this kind of stuff, the more so when a few miles down the Autobahn, the Deutsches Filmorchester Babelsberg, which – as its name implies – specialises in film music, is struggling to make ends meet.
CARLOS MARÍA SOLARE
Berlin, Germany
To respond to this letter, click here
SCHUBERT RONDO FOUND
Ronald de Lima wrote a letter to The Strad (Soundpost, April 2006) asking for information on the availability of the sheet music for the Rondo from Schubert’s Piano Sonata in D major D850 arranged by Carl Friedberg. During World War II, when I was touring Australia, I performed the Rondo many times: it was a favourite among all kinds of audiences, including the troops stationed in every corner of the country. Later, when I was teaching, I introduced it to my pupils. If Mr. de Lima is still looking for a copy, I’m happy to pass mine on to him.
LYNDALL HENDRICKSON
Australia
To respond to this letter, click here
LETTEROF THEMONTH POPULAR CLASSICS
The observation by Duke Ellington quoted in Judith Kogan’s feature ‘Crossing Over to the Dark Side?’ (April) that there are two types of music – good and bad – seemed to infer that music produced after careful thought by an experienced and skilful musician is more likely to be ‘good’ than that which emerges from a jam with enthusiastic but inexperienced adolescents. This is not necessarily so. Most composers write their music in the hope of it becoming popular and, yes, lucrative. What we now consider ‘classical’ music was the pop of its day. Music attains ‘classic’ status if it has the ability to outlast contemporary trends and survive through the generations. Arthur Sullivan didn’t rate the work he produced with W.S. Gilbert, but it is their operas that are still widely performed today, rather than the frankly feeble ‘classical’ music by which he hoped to be remembered. If young players want to explore all means of expression, then they should be encouraged to do so: the best musicians among them will soon tire of the lightweight of any genre and will seek satisfaction from worthwhile sources.
BRYN GLOVER,
Yorkshire, UK
To respond to this letter, click here
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