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It's all about the music, dude! Sit down, relax and listen to some tunes.

You're full of it, Tin

You try to portray Rosand as waiting for Stern to die before leveling his accusations. If that's the case, why did he wait for 14 years? For maximum effect? Sure!

You also blithely ignore all the corroborating posts at the end of the article. You also ignore the accounts of Earl Wild and Erick Friedmann in their memoirs.

As for his playing, did anyone of any competence feel that Stern had this individual sound you contend he had? I notice you pick a characteristic that's highly subjective in any case. Where's your corroboration? Or is it just you with your inexperienced "insights"?

You say today's performers are "robotic", but you're not even well enough acquainted with the playing of today's performers, and you couldn't even define what constitutes "robotic", or which performer in which part of which piece plays robotically (or even describe the characteristics well enough). All you have is this lame assertion that playing must have been better by the big (i.e., heavily promoted) names of the past.

You're easily impressed by Grammy awards, and you're so naïve that you think Stern had more of a range than other violinists (as if other violinists don't play chamber music too?). Your naïvete also shows in your careless confusion as to what might have been said for political or other motives (on the part of Rostropovich or Oistrakh - yeah, they were really free to speak their minds, weren't they?) with your notion of "enjoyment".

You say Stern's reputation is high among his colleagues - sure, I can see he's got a high reputation among those he pulled strings for. (And BTW, nothing wrong with that.) But which colleagues did you have in mind? Like you, they're probably in their dotage too. All you have is callow assertions.


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