Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.1 (Tek) 9/26/83; site azure.UUCP Path: utzoo!watmath!clyde!floyd!harpo!seismo!hao!hplabs!tektronix!teklds!azure!gregg From: gregg@azure.UUCP (Greg Gadeholt) Newsgroups: net.music Subject: Temperment spinoff - modern instrument quality Message-ID: <2604@azure.UUCP> Date: Thu, 8-Mar-84 15:55:56 EST Article-I.D.: azure.2604 Posted: Thu Mar 8 15:55:56 1984 Date-Received: Wed, 21-Mar-84 08:40:23 EST Organization: Tektronix, Beaverton OR Lines: 28 Ken Perlow made a couple of statements that could muddle a discussion of original instruments vs. modern instruments. (His article was a followup to an article regarding temperment, but the article seemed to be going off to a new topic.) Ken said that he didn't care for the sound of Mozart on modern instruments, especially after hearing music performed on original (non-modern) instruments. That's fine; I have no quarrels with this opinion. In fact, I haven't even reached a personal conclusion about the merits of using original instruments. However, he sited as an example the "piercing screech" and "wide vibrato" of modern violins. At best, a piercing screech is caused by crummy strings or a crummy violin. At worst, the screech is caused by a crummy violinist. The problem is not something inherent in modern violins. A wide vibrato in an inappropriate place is totally the fault of the violinist. The violinist either lacks musicianship or doesn't have the technical skill necessary to have a diverse vibrato "repertory". A good musician can make Mozart sound good on either an original or modern instrument. A hack will sound at best "OK" on either. A performance's quality is far more dependent on the musician than on the instrument. Greg Gadeholt Tektronix MDP ..!tektronix!tekmdp!gregg