<HTML><HEAD> <META http-equiv=Content-Type content="text/html;= charset=US-ASCII"> <META content="MSHTML 6.00.2800.1491" name=GENERATOR></HEAD> <BODY id=role_body style="FONT-SIZE: 10pt; COLOR: #000000;= FONT-FAMILY: Arial" bottomMargin=7 leftMargin=7 topMargin=7= rightMargin=7><BR>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...<BR><BR>David= Ilvedson<BR><BR><BR><BR> <DIV style="PADDING-RIGHT: 5px; PADDING-LEFT: 5px;= PADDING-BOTTOM: 5px; BORDER-LEFT: #000000 3px solid;= PADDING-TOP: 5px"> <HR> Original message<BR>From: <WIMBLEES@AOL.COM><BR>To:= <CAUT@PTG.ORG><BR>Received: Tue, 8 Mar 2005 10:58:45= EST<BR>Subject: Re: [CAUT] William Wolfram<BR><BR><FONT= id=role_document face=Arial color=#000000 size=2> <DIV align=left>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.</DIV> <DIV> </DIV> <DIV>"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."</DIV> <DIV> </DIV> <DIV>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. </DIV> <DIV> </DIV> <DIV>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. </DIV> <DIV> </DIV> <DIV>Wim </DIV> <DIV> </DIV> <DIV> </DIV></FONT></DIV></BODY></HTML>