[CAUT] William Wolfram

[David Ilvedson]

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I'd say you have some information on how to proceed if the critic=
 actually hears what he's writing.  If the bass is murky? you may=
 need to apply lacquer as Dale Erwen likes to do sometimes. (Dale=
 maybe you could elucidate on this aspect) It might give you a=
 little more clarity in the that area.   Bringing down the treble=
 may make the tenor sound more in line...

David Ilvedson






Original message
From: 
To: 
Received: Tue, 8 Mar 2005 10:58:45 EST
Subject: Re: [CAUT] William Wolfram


For what it's worth, the critic in the paper is actually a quite=
 knowledgeable person. He is an English professor, and plays the=
 piano a little, (I used to tune his piano), but does a lot of=
 research prior to any concert about the music that's going to be=
 played. I have a feeling he talked with Wolfrom after the=
 concert, because I don't think he could hear the problem from=
 the hall. (He is not that good). Here is the review in the=
 paper.
 
"Here it was Wolfram's turn to do some exploring, as he felt his=
 way along the music halls' recently acquired and very powerful=
 Steinway grand. Though this instrument has not been played much,=
 something is clearly amiss with the evenness, or lack of=
 evenness in the sound it gives out. It's murky in the lower=
 notes, rather soft in the middle range and downright brittle in=
 the higher notes. This is a potential disaster for the=
 Beethoven's C Major, in which the pianos' most dramatic touches=
 arise from its' scales arpeggios and ornaments - moments of=
 maximum exposure. Though visibly (if fleetingly) surprised at=
 what he was hearing in the first movement, Wolfram was quick to=
 take the measure of problem, working the brilliance of the=
 instrument into a reading that the energy level and let the most=
 subtle of Beethoven's touches speak for themselves. His closing=
 Rondo was a dance of triumph, rejoicing at the successful=
 solution of a problem suddenly posed."
 
Horace mentioned the importance of a technician being available=
 for a recital. The Alabama Symphony was a guest at our music=
 hall. 2 weeks prior to the concert, I asked our concert=
 coordinator about a schedule: What time could I tune the piano,=
 what time will the soloist be there to talk to me? All I got,=
 even up until two days before, was that they will set up the=
 stage at 11. Nothing about when the soloist will show up, when=
 he wanted to practice. For all I knew, he was gong to show up at=
 3 o'clock in time for the concert, and play. So even if I had=
 been there, there wouldn't have been much I could do about it.=
 Since I had a dress rehearsal to go to at the same time, I=
 didn't even go to the concert, for which I had bought tickets. 
 
You can imagine how I felt when I read the review in the paper.=
 Did I mention how there are no classes offered that teach how to=
 create a thick skin. 
 
Wim 
 
 


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