Comments on: Dealers And Stealers http://www.lynnharrell.com/2009/11/dealers-and-stealers/ The official website of cellist, Lynn Harrell Wed, 07 Dec 2011 13:45:49 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Robcelloholic http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-540 Robcelloholic Fri, 01 Oct 2010 03:51:44 +0000 http://www.lynnharrell.com/?p=389#comment-540 Hi everyone, just an input on Villaume copy of Paganini's "Del Jesu", this instrument is now played by Hilary Hann. and thanks to Lynn for sharing your experience in the musical and cello world... gretings from Chile... Roberto.- Hi everyone,
just an input on Villaume copy of Paganini’s “Del Jesu”, this instrument is now played by Hilary Hann.

and thanks to Lynn for sharing your experience in the musical and cello world…

gretings from Chile…

Roberto.-

]]> By: toni http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-343 toni Mon, 25 Jan 2010 06:40:54 +0000 http://www.lynnharrell.com/?p=389#comment-343 Hi there, I loved this article and was gob-smacked by the article it inspired from The Strad. (latest issue) I cannot understand how the new vs old debate continues. It implies that the vintage of instruments are a type - like a race of people. I recently acquired the instrument of my dreams. It's tone has unimaginably fine quality, character and depth and I feel priveleged to play it. It is also distractingly beautiful to look at. This cello is 18 months old. It is a fine instrument because of the brilliant luthier who made it and his access to the finest materials. It would be insincere of me to promote modern instruments simply because the instrument I love is new. There are plenty of ordinary new instruments out there, (sadly, giving new ones a bad name). There are also plenty of ordinary instruments which are hundreds of years old. No string player can risk making one of the largest decisions of their life with the distortion of prejudice. Hi there,

I loved this article and was gob-smacked by the article it inspired from The Strad. (latest issue)

I cannot understand how the new vs old debate continues. It implies that the vintage of instruments are a type – like a race of people.

I recently acquired the instrument of my dreams. It’s tone has unimaginably fine quality, character and depth and I feel priveleged to play it. It is also distractingly beautiful to look at.
This cello is 18 months old. It is a fine instrument because of the brilliant luthier who made it and his access to the finest materials.

It would be insincere of me to promote modern instruments simply because the instrument I love is new.
There are plenty of ordinary new instruments out there, (sadly, giving new ones a bad name). There are also plenty of ordinary instruments which are hundreds of years old.

No string player can risk making one of the largest decisions of their life with the distortion of prejudice.

]]> By: Lynn Harrell http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-282 Lynn Harrell Wed, 02 Dec 2009 03:08:10 +0000 http://www.lynnharrell.com/?p=389#comment-282 Dear Peter: Yes, I have come to this point of view over many years. But mostly from my experience , a bit from my teaching. But I do remember thinking that Slava had such an effect of huge tone, multi colored and that his instrument was not of the top rank. That convinced me that how it is played is absolutely primary. However, it is also essential that the instrument have a strong and healthy full sound which slava's did, maybe even a bit brash! Any instrument with a weak string or two , a dark covered quality of sound, unevenness, etc. will be hopeless in the end. Even when the "quality" of sound excites one. Dear Peter:

Yes, I have come to this point of view over many years. But mostly from my experience , a bit from my teaching. But I do remember thinking that Slava had such an effect of huge tone, multi colored and that his instrument was not of the top rank. That convinced me that how it is played is absolutely primary. However, it is also essential that the instrument have a strong and healthy full sound which slava’s did, maybe even a bit brash! Any instrument with a weak string or two , a dark covered quality of sound, unevenness, etc. will be hopeless in the end. Even when the “quality” of sound excites one.

]]> By: Lynn Harrell http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-281 Lynn Harrell Wed, 02 Dec 2009 02:55:46 +0000 http://www.lynnharrell.com/?p=389#comment-281 I know that Salvatore Accardo has spent some time with the Canon. He told me that it took a few WEEKS to \wake up\ but that it was SO incredible that he then subscribed to the notion that Paganiniwanted no one else to play it. And they would'nt if it was in a museum! He did not say if he played the Vuillaume as well, however. Even if Salvatore did, he would not have been as interested in it as much as the Del Gesu no one would be, particularly if it had to be \broken in\.... And I believe that the best new makers are closer to the originals than even Vuillaume. I know of no Vuillaume cello that can match my one piece back Christopher Dungey Pocatello Idaho 2008 cello. I know that Salvatore Accardo has spent some time with the Canon. He told me that it took a few WEEKS to \wake up\ but that it was SO incredible that he then subscribed to the notion that Paganiniwanted no one else to play it. And they would’nt if it was in a museum! He did not say if he played the Vuillaume as well, however. Even if Salvatore did, he would not have been as interested in it as much as the Del Gesu no one would be, particularly if it had to be \broken in\…. And I believe that the best new makers are closer to the originals than even Vuillaume. I know of no Vuillaume cello that can match my one piece back Christopher Dungey Pocatello Idaho 2008 cello.

]]> By: Peter Chun http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-277 Peter Chun Tue, 24 Nov 2009 16:55:16 +0000 http://www.lynnharrell.com/?p=389#comment-277 Thank you for this insightful entry. I agree wholeheartedly on the extremely high-level of violin making that we're seeing. While it's true that even lesser known old instruments can often sound better than new ones, I firmly believe that it's only because of the age and usage of the particular instrument, not necessarily because of the quality. The newer instrument of high quality, w/ enough playing by a good player, will eventually sound as good, if not outperform the older one. I'm curious Mr. Harrell, as you must have had access to some high quality instruments even when you were young, because of your level of achievement at a young age, as well as due to your exposure to the professional musical world you must have had through your father (whose recordings I've heard and have extremely high opinion of his magnificent voice). Did you come to this conclusion from your own experience, or more from observation through your many years of teaching? Peter Thank you for this insightful entry. I agree wholeheartedly on the extremely high-level of violin making that we’re seeing. While it’s true that even lesser known old instruments can often sound better than new ones, I firmly believe that it’s only because of the age and usage of the particular instrument, not necessarily because of the quality. The newer instrument of high quality, w/ enough playing by a good player, will eventually sound as good, if not outperform the older one.

I’m curious Mr. Harrell, as you must have had access to some high quality instruments even when you were young, because of your level of achievement at a young age, as well as due to your exposure to the professional musical world you must have had through your father (whose recordings I’ve heard and have extremely high opinion of his magnificent voice). Did you come to this conclusion from your own experience, or more from observation through your many years of teaching?

Peter

]]> By: Dwight http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-276 Dwight Mon, 23 Nov 2009 04:06:40 +0000 http://www.lynnharrell.com/?p=389#comment-276 I'm not sure where the copy of the cannon is (I will try to find out) I am a bit mortified that I mis-spelled Vuillaume though.. DLB FKWG I’m not sure where the copy of the cannon is (I will try to find out) I am a bit mortified that I mis-spelled Vuillaume though..

DLB
FKWG

]]> By: David http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-275 David Sun, 22 Nov 2009 16:12:52 +0000 http://www.lynnharrell.com/?p=389#comment-275 Thanks for this. I remember hearing Raphael Wallfisch several years ago on his excellent cello (not sure of maker). Certainly the musician in in command of his art is the most important ingredient for a career. David Thanks for this. I remember hearing Raphael Wallfisch several years ago on his excellent cello (not sure of maker). Certainly the musician in in command of his art is the most important ingredient for a career.

David

]]> By: Lynn Harrell http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-271 Lynn Harrell Sat, 21 Nov 2009 13:23:36 +0000 http://www.lynnharrell.com/?p=389#comment-271 Thank you for your comment. I didn't know that Vuillaume had made an instrument for Paganini. Where is it now? Thank you for your comment. I didn’t know that Vuillaume had made an instrument for Paganini. Where is it now?

]]> By: Dwight http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-270 Dwight Fri, 20 Nov 2009 00:19:05 +0000 http://www.lynnharrell.com/?p=389#comment-270 I am of the opinion that a fine instrument by a living maker would work well for almost anyone. Time and time again double blind tests show that new instruments are worthy. Many famous players have exact \bench\ copies made of their fine old italians, even Paganini had the Cannon copied by Vuillume. I am not in any way a great player, but I do enjoy my new instrument and bows and I do not feel at any disadvantage. There is really nothing to loose except ego. DLB FKWG I am of the opinion that a fine instrument by a living maker would work well for almost anyone. Time and time again double blind tests show that new instruments are worthy. Many famous players have exact \bench\ copies made of their fine old italians, even Paganini had the Cannon copied by Vuillume. I am not in any way a great player, but I do enjoy my new instrument and bows and I do not feel at any disadvantage. There is really nothing to loose except ego.

DLB
FKWG

]]> By: Lynn Harrell http://www.lynnharrell.com/2009/11/dealers-and-stealers/comment-page-1/#comment-268 Lynn Harrell Thu, 19 Nov 2009 21:06:26 +0000 http://www.lynnharrell.com/?p=389#comment-268 Thank you for your comment. I am pleased to be able to witness the emergence of a number of great luthiers, as well. Thank you for your comment. I am pleased to be able to witness the emergence of a number of great luthiers, as well.

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