From: Matanya Ophee <>
Subject: Re: Christopher Parkening Video - "We Thank Thee, Lord, We Thank Thee"
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Date: Thu, 13 Mar 2003 02:01:20 GMT
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Organization: Road Runner High Speed Online -- Columbus (William D Clinger) wrote:

>Matanya, you don't seem to be aware that any insult you attempt
>is actually a compliment to the person you are trying to insult.

Of course. I said it was a compliment. Rudimentary is better than
non-existent, isn't it? In any case, the assessment was qualified by
reference to your posts in this NG. Should I be exposed to other
indicators of your musicianship, your concerts, recordings, published
articles, published editions, etc, I might change my mind, in either

>I've been looking forward to this particular attempt.  There is
>no question whatsoever but that your knowledge of the repertoire
>of classical guitar is far greater than mine, and I will concede
>also that your knowledge of music theory is greater than mine.
>But let's take this a little further.  In the message that kicked
>off this record-breaking sequence of threads,

It's record breaking for one simple reason: YOU, Will Clinger, are
intent on beating this dead horse to distraction, because, quite
simply, you have no useful contributions to make to this NG regarding
its topic, and it amuses you to bring the topic up at every possible
opportunity. What you expect to achieve by that is a mystery to me.
Those readers of the NG who understand what _I_ have to contribute,
will continue to support my efforts, even if they strongly disagree
with me on this or that point.

> on 15 March 1995,
>at 07:23:38 PST, here is what you wrote concerning Parkening's
>recordings of the solo prelude to BWV 1006a and the orchestral
>version from Cantata 29:
>> Besides the issue of
>> taking a Bach orchestral piece in D Major and transposing it to E
>> so as to suit a soloist, without mentioning the fact, there is a
>> good question in my mind if the actual guitar track on both
>> recording is not, God Forbid, the very same recording. When
>> slowing down the earlier recording so that it sounds in E, the
>> articulations of the entire piece sound to me identical in both
>> the LP and the tape.

>When I listen to these two recordings, which are actually in F, the
>different articulations are obvious to me.  While it is true that I
>have a pretty good ear, I think the differences would be audible to
>most readers of this newsgroup---they would certainly be audible to
>any competent musician.  This is not just my opinion---it can be
>verified by anyone who takes the trouble to compare the two.

Until we have the assessment of this question by others, both pro and
con, this _is_ nothing more than _your_ opinion. You are entitled to
your opinion, but you cannot assume that others, necessarily, will
have the same opinion. Some will, some won't.

>So I have a multiple choice question for you:
>  ____  A.  Matanya has a tin ear.
>  ____  B.  Matanya lied when he said he had compared the recordings.
>  ____  C.  Matanya lied when he said there was a good question in
>            his mind if the actual guitar track on both was, God
>            forbid, the very same recording.
>  ____  D.  All of the above.
>I would love to discuss our musicianship further, but first you must
>answer this question.

What is the question? 

The basis of a multiple choice quiz, in any discipline, is to give 4
different solutions, all seemingly plausible,  to the same problem.
The way you constructed your four answers, beats the hell out of me
what was _question_ they are supposed to answer. Is this the kind of
quiz you give your students in whatever it is you teach them? 4
answers and no question?

But since you seem to be concerned with my hearing faculties, let me
says this:

>A.  Matanya has a tin ear.

That's a temporal obfuscation. The proper statement should be, based
on the shit you dug up from the archives, is whether I had a tin ear
in 1995. I would suggest that in order to ascertain that, you will
need to closely examine all the music I published in 1995, and since,
all my published concert reviews in the international press about a
fairly large number of guitarists, examine all the candidates in the
various international competitions in which I sat as a jury member,
and listened, and question all the composers who keep sending me their
compositions for publication. (3 of them today!). Then you will have
the means to establish whether I had a tin ear in 1995, and whether it
is getting tinnerer.

B.  Matanya lied when he said he had compared the recordings.

I did not lie. Period.

C.  Matanya lied when he said there was a good question in
            his mind if the actual guitar track on both was, God
            forbid, the very same recording.

How can I possibly lie when asking a question?

Now, since you seem to be so confident of _your_ ability to hear, can
you tell us how was the Parkening concert? And please, no pat
inanities. As detailed as my review of his 1999 concert. As for
published reviews in the Boston Globe, I'll check that out myself. I
just might subscribe to a newspaper clipping service and obtain other
reviews from all around. Should be an interesting book to compile.

Matanya Ophee
Editions Orphe'e, Inc.,
1240 Clubview Blvd. N.
Columbus, OH 43235-1226
fax: 614-846-9794