Friday, January 11, 2013

Fw: The Fastest Pianist in the World, Yuja Wang article Dec.21, 2012

 
 
Sent: Friday, January 11, 2013 9:58 AM
Subject: The Fastest Pianist in the World, Yuja Wang article Dec.21, 2012
 

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Guardian Weekly Letters, 11 January 2013

·       Guardian Weekly, Tuesday 8 January 2013 08.59 EST

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Peak performers

Your article about sports performances that appear superhuman may be suitable for the Guinness Book of Records, but hardly for concert pianists (Performance that is really superhuman, 21 December). Granted, Yuja Wang can play fast, but so what? Hundreds of pianists, past and present, played as fast if not faster than Wang, yet their concert careers fizzled into oblivion. For example, Lubomy Melnyk, a budding concert pianist in the 1970s, was clocked playing 19.5 notes per second by each hand, simultaneously, and the most number of individual notes played in one hour: 93,650.

I, for one, am quite content with the prestissimos of early Rubinstein, Rachmaninov, Horowitz, Richter, Barere and the hell with the missed notes. Moreover, a simple Mozart melody played by artists like Ruth Slenczynska or Rubinstein may transport the listener to celestial aesthetic heights unattainable by passages of 64th notes – regardless of their accuracy and speed.
Les Dreyer
New York City, US

 

Sunday, November 25, 2012

NYTimes.com: Sunday Dialogue: Is Classical Music Dying?

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This page was sent to you by:  ldreyer@nyc.rr.com

SUNDAY REVIEW   | November 24, 2012
LETTERS:  Sunday Dialogue: Is Classical Music Dying?
Readers react to a violinist̢۪s fear that its audience is declining.
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Monday, November 19, 2012

NYTimes.com: Invitation to a Dialogue: Saving Classical Music

Sent by ldreyer@nyc.rr.com:
Letter

Invitation to a Dialogue: Saving Classical Music

A violinist writes about ways to keep classical music alive, including use of Bugs Bunny. Readers are invited to reply.

Or, copy and paste this URL into your browser: http://nyti.ms/Tavb9K
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Monday, October 1, 2012

Fw: NYTimes.com: The Violin That Was a Present From Mussolini

 
 
From: ldreyer
Sent: Monday, October 01, 2012 4:52 AM
Subject: NYTimes.com: The Violin That Was a Present From Mussolini
 
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This page was sent to you by: ldreyer@nyc.rr.com

 
The Violin That Was a Present From Mussolini


Beasts of the Southern Wild
Winner of the Camera D'Or
Dev Patel, and Maggie Smith.
at Cannes. Now playing in
select theaters.

Click here to watch the trailer


 

Thursday, August 23, 2012

Fw: NYTimes.com: Opera's Struggle for Relevance in Today's World

 
 
From: ldreyer
Sent: Thursday, August 23, 2012 3:26 AM
Subject: NYTimes.com: Opera's Struggle for Relevance in Today's World
 
The New York Times E-mail This
This page was sent to you by: ldreyer@nyc.rr.com

OPINION   | August 23, 2012
LETTERS:  Opera's Struggle for Relevance in Today's World
Two readers react to a Critic's Notebook article about the issues faced by opera companies.

Beasts of the Southern Wild
Winner of the Camera D'Or
Dev Patel, and Maggie Smith.
at Cannes. Now playing in
select theaters.

Click here to watch the trailer


 

Thursday, July 19, 2012

Fw: "Alchemy with a white stick" article by Tom Service (06.07.12)

This letter appeared in The Guardian Weekly (July 20,2012) 
----- Original Message -----
Sent: Friday, July 06, 2012 10:02 AM
Subject: "Alchemy with a white stick" article by Tom Service (06.07.12)

As a violinist  who has played under the batons of Bernstein, Kleiber, Karajan, and countless other legendary conductors for over half a century, I must take issue with Tom Service's statement that "the last thing the best conductors do is to force a group of musicians to do their bidding."  I am thinking of Toscanini, Szell, Reiner, Muti, and the multitude of gifted Met guest maestros who were definitely not considered "Mr. Nice Guys" in their attitude on the podium. Moreover, if you ask 100 orchestra members what quality is most vital for a maestro you will get 100 different answers. My personal experience is that asking a musician his favorite conductor is like asking a mouse its favorite cat.

            Mr.Service correctly observes that musicians would not tolerate a lack of inspiration from a conductor. Yet he is skating on thin ice when he attempts to define the alchemy of "cosmic" performances. Whether or not the mystical contagious energy flows between a maestro and his musicans out of love or hate or fear is irrelevant. What counts is does the audience feel it as well, and what is missing in Mr. Service's analysis is certainly the most important quality  for a conductor to inspire the musicians and thrill an audience---charisma.

 

Les Dreyer

(Retired violinist of the Metropolitan Opera Orchestra for 46 years)

 

180 West End Ave.

NYC 10023  USA