Fw: What do thieves do with the 'H' and 'C' studs from handbasin taps? (Dec.18)

This bit of nonsense appeared in The Guardian Weekly, Jan.8, 2010 in response to a reader's nonsensical query:

----- Original Message -----

From: Leslie Dreyer

To: weekly.n&q@guardian.co.uk

Sent: Friday, December 18, 2009 9:41 AM

Subject: What do thieves do with the 'H' and 'C' studs from handbasin taps? (Dec.18)

There is a vast difference between thieves and souvenir collectors. When the old Metropolitan Opera House was about to be demolished, everone, even wealthy patrons in the Grand Tier, snipped off swatches from the velvet seats and the stage curtain as nostalgic momentos, while the washrooms were relieved of screws, doorknobs, and even an entire toilet seat. Similarly, it is quite understandable why a guest enjoying a stay at a luxury hotel, or a memorable dinner in a four-star restaurant, might be tempted to abscond with the elegant porcelain studs that traditionally adorn the handbasin taps in such places, in order to cherish them as souvenirs of the occasion. 

     Yet I cannot imagine why anyone would steal a tap stud from a public washroom, cheap restaurant, or fleabag hotel. For their poor taste, I would indeed call those unfortunate creatures thieves and vandals, and whatever they do with their ill-begotten junk is not worthy of our slightest consideration.

 

Les Dreyer, New York City, US

Les Dreyer

(Retired violinist of the Met Opera Orchestra)

 

180 West End Ave.

NYC 10023  USA

Fw: letter in Economist Jan.2-8th, 2010

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Letters

String symphony

SIR – Italian violin-makers were not the sole master craftsmen of the art during the 18th century ("Older and richer", December 19th). Around 1715 Daniel Parker, an English violin-maker working in London, visited Stradivari's Cremona workshop, where he acquired an abundance of the master's secrets, such as the ingredients used to varnish the instrument, wood-ageing and carving techniques, which were unknown to the outside world.

Upon returning to London, Parker produced instruments with so gorgeous a tone that when Fritz Kreisler performed on his Daniel Parker violin two centuries later, no one in the audience, not even violin-makers or music critics, could believe that he was not playing his own Strad.

Les Dreyer
Retired violinist of the Metropolitan Opera orchestra
New York

Fw: NYTimes.com: The Kindness Hormone (1 Letter)

 

----- Original Message -----

From: ldreyer@nyc.rr.com

To: ldreyer@nyc.rr.com

Sent: Tuesday, December 01, 2009 4:50 AM

Subject: NYTimes.com: The Kindness Hormone (1 Letter)

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NYTimes.com: Gustavo Dudamel: Keeping Up the Pressure

This page was sent to you by:  ldreyer@nyc.rr.com ARTS   | November 29, 2009 Letter:  Gustavo Dudamel: Keeping Up the Pressure To the Editor:. Advertisement Fantastic Mr. Fox directed by Wes Anderson, featuring the voices of George Clooney and Meryl Streep. Now Playing. Click here to view trailer Copyright 2009  The New York Times Company | Privacy Policy

Fw: "Passion and Patriotism" by Ed Vuilliamy [30.10.09]

 

----- Original Message -----

From: Leslie Dreyer

To: Leslie Dreyer

Sent: Friday, November 13, 2009 5:40 PM

Subject: Fw: "Passion and Patriotism" by Ed Vuilliamy [30.10.09]

This letter appeared in the Nov.13th/09 issue of The Guardian Weekly.     Les

----- Original Message -----

From: Leslie Dreyer

To: weekly.letters@guardian.co.uk

Sent: Saturday, October 31, 2009 6:22 AM

Subject: "Passion and Patriotism" by Ed Vuilliamy [30.10.09]

Perhaps it is arguable that Valery Gergiev, as Ed Vuilliamy asserts, is the greatest conductor of his generation. Yet as one who has experienced the orchestral terror of trying to decipher his beat--which consists of a toothpick dangled in his right hand, while his left hand flutters up and down like a butterfly--I can attest that maestro Gergiev is definitely the most difficult to follow.

    All the same, Mr. Gergiev, along with the legendary maestros Leopold Stokowski and Carlos Kleiber is, in my opinion, one of the great poets of the podium. These gentlemen could convey a musical dynamic and articulation to their musicians with a glance, a frown, a wink, a smile--call it E.S.P. if you will, but nonetheless it was always a great pleasure and an honor to make music with them--despite the absence of a clear beat from a baton and a few skipped heartbeats.

 

Les Dreyer

(Retired violinist of the Metropolitan Opera Orchestra)

 

180 West End Ave.

NYC 10023 U.S.A.

 

Note to Editor: I was a member of the Met Orchestra for 46 years, 30 of them as associate-principal violin, and have played under the 3 conductors mentioned.

"Where Do All the Books End Up . . . " The Guardian Weekly, Oct.30/09

 

Why do pianists need page-turners?

"Why Do Pianists Need Page-turners?"  The Guardian Weekly, Oct. 9, 09