Jump to content
Maestronet Forums

Ole Bull

Members
  • Posts

    642
  • Joined

  • Last visited

Ole Bull's Achievements

Enthusiast

Enthusiast (5/5)

  1. Michael - I think the confusion stems from the difference between power (intensity) and displacement (i.e. the amplitude of the pressure wave). Power is proportional to the square of displacement, hence a factor of 2 in logarithms. If the graphs show intensity, then a factor of 2 is 3 dB; if they show amplitude, then it's a factor of 6. That's my guess. Most expensive fiddle - probably a del Gesu belonging to David Fulton, I'm not sure which one it was. Set up very agressively, a powerful instrument.
  2. quote: Originally posted by Yojimbo: There is a direct line from Beethoven through Berlioz, Brahms, Wagner, Mahler, and passing through Stravinsky, Prokoffiev, Shostakovitch, Britten, Schoenberg (to name a small fraction), right into today's composers. There is really no place to draw a line and say "this is no longer Romantic". [This message has been edited by Yojimbo (edited 04-10-2002).] I disagree. I don't think there is any line that goes through Brahms and Wagner both. Beethoven--Schumann--Brahms--Schoenberg, with perhaps Beethoven--Berlioz--Wagner--Strauss a parallel track. Witness the animosity between these two camps. And compare, say, the chamber music output of each, noting any differences. Actually I don't think the Brahms symphonies are particularly "romantic" - in the sense of wild abandon, thowing off tradition, celebrating the individual etc. By the time he wrote his last symphony he was seen as the grand old man, harkening back to old forms such as the chacconne. They are very intellectual in the way they develop. To me, something like Tchaikovsky's "Pathetique" symphony is far more romantic than anything Brahms wrote (Notice I didn't say "better"). Thje modern day term might be "on your sleeve"? Or Strauss's Ein Heldenleben - even Berlioz Symphonie Fantatique - the celebration of the individual spirit. Wasn't that what the romantoic age was all about?
  3. quote: Originally posted by simon: Did you go to any sessions in Belfast? I should have thought to recommend some. I'd have suggested meeting up, but I was away in Budapest myself. Where did you go in Galway? The Crane has great sessions, and I've heard good music in Taaffes, though it gets pretty cramped and smokey. Hey Simon, I spent two years in those pubs! Sunday nights at the Crane and Saturday afternoon in Taffes were classic. Is there a pub in Irelend that doesn't get smokey?
  4. Nobody has mentioned Grumiaux yet! Also try Ferras, for a fruitier version. Marvellous stuff.
  5. In the link given, it states: " Today, some sites where pernambuco wood occurs naturally are legally protected. " (in the "conservation" section.) i.e. in other areas presumably pernambuco is not legally protected and is OK to export....?
  6. The recent issues I've read have been very mediocre and I will be dicontinuing my subscription due to their slandering of my former teacher and failure to respond to my letter on this matter. It should be a lot better than it is.
  7. quote: Originally posted by iupviolin: Oh...check out HKV's performance of some of Bach's E major Partita. He's going senza vibrato and it really sounds authentic. Check it out! Where? How do I "check it out"? I'm perplexed, since this is a fast peice consisting almost entirely of 1/16 notes, so where would vibrato feature anyway? In the chord near the end perhaps....
  8. Ole Bull

    Strings

    I've experimented a lot with strings, and it's an interesting thing to do. However, when all is said and done, dominant medium-gauge all the way across is not such a bad choice for most instruments. You might spend $500 trying all the brands and end up coming back to them. Not that they are necessarily the best, but above a certain level of quality, if you are unhappy with the sound then most likely you have an instrument or set-up problem not a bad choice of strings. Actually I'm on Tonicas right now, and they work just fine.
  9. I was at the concert, 2 rows back. He was marvellous. I was struck by the lightness of much of his playing. I'd be interested how well it carried to the back... anyone? The Mozart was great, a little on the juicy side even for me. I thought the Schubert was the best, he had the right kind of lightness for this piece - which is usually butchered.
  10. Well, let's not forget that Harrell had promised a "nice reward." That creates an expectation, doesn't it. Ibrahim could have returned it to his cab company's lost and found. Who knows how it would be treated, bumped around, stored in a cold dry warehouse in Queens...
  11. I agree with Stephen. Cedar, I get your point. It's interesting to me how people can see the same story from such different perspectives. I'm curious - when were there high moral standards in the States (or anywhere, for that matter)?
  12. NewShoes - I did stand, though I was not the first to do so. I was the least-well-dressed of the audience, in a light-green coat that bespoke poverty or a poor sense of occasion.
  13. Miranda - do you mean me me, or me Lynn Harrell? I've already said what I would have done in his position (of course I'm not really familiar with his financial situation, but it's hard for me to imagine he couldn't spare a few grand). $5000 is about 0.1% of the value, probably about the amount it appreciates in week. If it were me with the Strad, I would be so deep in debt as to not be able to afford the cab in the first place. For most of us, 0.1% of the value of our instruments is a few dollars. [This message has been edited by Ole Bull (edited 05-23-2001).]
  14. Cedar - there is a rather long tradition of giving rewards for the return of lost goods. I don't think it's an issue of "low morals". It's an unequivocal way of expressing gratitude, a gesture that needn't cause the famous musician too much financial hardship yet makes a big difference to the cabbie. Sure, the reward is in the satisfaction of doing the right thing. Sure.
  15. In New York, $75 probably doesn't get you across the Brooklyn bridge in a cab. Unbelievable. $75? Seventy-five? Why not $100 - at least that's a round number? Or what about the fee from his next concert? $10 000 perhaps. Plus a complete collection of his recordings, signed, and free tickets to his New York concerts in perpetuity? Think of the heartache and expense he was saved by the thoughtful actions of the cabbie. He's a great cellist, but this was a lapse.
×
×
  • Create New...