"should I stay or should I go?"

[antares]

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Very smart, David Ilvedson!

Andr=E9

On 12-nov-04, at 20:53, David Ilvedson wrote:

> That would be pre-Verituner?
>
> David I.
>
> =A0
>
> =A0
>
> ----- Original message ---------------------------------------->
> From: antares <antares@euronet.nl>
> To: Pianotech <pianotech@ptg.org>
> Received: Fri, 12 Nov 2004 19:25:07 +0100
> Subject: Re: "should I stay or should I go?"
>
>
>
> Hi David Skolnik,
>
> Of course it is true that there circumstances where you can train the=20=

> stage crew of a certain theater to be quiet when you are tuning.=20
> However, in most, or at least many cases, this is not possible and in=20=

> that case you just have to live with it.
> Here is a clear example : I worked for some time for the most famous=20=

> concert hall in Holland, and my expectations were that they would help=20=

> me to do the best that I had to offer, and especially in that place=20
> (the Concertgebouw in Amsterdam).
> The opposite was the case! They did not give a damn whether I had a=20
> hard time or not. All they said in response to my complaints was that=20=

> the tuners before me had never complained and that I 'd better be a=20
> big boy now.
> Whatever I said... it did not help. At a certain moment it was so bad=20=

> that 2 people were vacuum cleaning the stage and the seating rows at=20=

> the same time while I was preparing a gorgeous instrument for a famous=20=

> pianist!
> It should actually be enough to stop the job, pack your tools and get=20=

> the hell out.
> And you know what?
> After a long time of this humiliating treatment...
> I packed my tools, and I got the hell out, and I never returned, even=20=

> though this was the most prestigious client I had ever had.
> There are however other cases where you try to keep the job, even if=20=

> it is almost impossible.
> That's where you have to grin and ignore.
>
> Andr=E9
>
>
> On 12-nov-04, at 15:45, David Skolnik wrote:
>
> Hi Kent -
>
> I don't think we disagree. I credit my own early theatre-tuning=20
> experience with the my ability to through-tune, but I'm going for a=20
> little nuance here. Let me say this. As to how many of those same=20
> people would ever again be confronted with a piano tuner at work, why=20=

> should you assume it to be so unlikely? These were stage hands and=20
> such. The next time, they might very likely remember...maybe it would=20=

> take a few times. That's a learning curve. As to the existential=20
> characteristics, I am trying to distinguish between those conditions=20=

> which are mutable from those that are im-, (pi). I see no virtue in=20
> suffering in silence if, by speaking up, the situation can be altered,=20=

> and I don't accept the idea that asking / demanding silence ought to=20=

> be experienced as humiliating.
>
> As for your recent experience, congratulations. It would be=20
> interesting to hear the circumstances surrounding such a nightmare,=20
> but I think your story illuminates my point on multiple levels. For=20
> example, what if some aspect of the tuning had, in fact, proved=20
> inadequate? Maybe starting out good, but slipping. How would you have=20=

> felt if some critical attention had been brought to the piano, despite=20=

> your heroic effort. It certainly wouldn't be fair, but you might also=20=

> attribute that to the tuners' existential dilemma. Why, in such a=20
> panic situation, was it impossible for the venue managers to control=20=

> the conditions for you? Why SHOULD such heroics be allowed to become=20=

> the standard, as illustrated by the quote from Carol Beigel's post,=20
> "Yeah, the real professionals can deal with anything".
>
> Overall, a much wordier version of what David Love just posted.
>
>
> David Skolnik
>
>
> At 06:50 AM 11/12/2004 -0600, you wrote:
>
> On Nov 12, 2004, at 12:02 AM, David Skolnik wrote:
>
>
> The point is, SOMEONE has to teach these people. If I (or you) don't=20=

> tell them, why SHOULD they know better?
>
> You are right. My position is indefensible. But it is my position,=20
> nevertheless. I wonder how many of those people that you successfully=20=

> shooed away will ever be faced with the same situation again. Next=20
> time it is likely to be different people making noise and needing to=20=

> be educated. This is the piano tuner's existential dilemma, as far as=20=

> I can see. We can suffer (the noise) in silence, or we can suffer the=20=

> humiliation of having to ask for quiet. Suffering in silence involves=20=

> no break in tuning, and doggedly continues the progress toward a=20
> finished tuning.
>
> Last weekend I tuned for Olga Kern, the Cliburn gold medalist. I had=20=

> prepared one piano in ideal conditions, but there was a last minute=20
> change of pianos. I had half an hour to bring the other piano up to=20
> pitch and tune it at the last minute while chaos reigned in the hall.=20=

> Impossible. But as far as they know, I did it, and the reviews of the=20=

> concert were raves. Maybe I was able to do that because of the=20
> experience I have tuning in adverse conditions. ?
>
> Kent
>
>
> _______________________________________________
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>
>
> _______________________________________________
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>
>
> friendly greetings
> from
> Andr=E9 Oorebeek
>
> "where Music is, no harm can be"
>
>
friendly greetings
from
Andr=E9 Oorebeek

"where Music is, no harm can be"

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