Formerly concertmaster of Sergiu Celibidaches Munich Philharmonic Orchestra, today Florin Paul occupies the same position with Hamburgs North German Radio Symphony Orchestra. Some years ago he traveled to a small and rather unattractive church in the south of France, which was blessed with heavenly acoustics. With a precious, loaned Stradivari, he performed a silky and delicate yet crystal-clear Bach which Andreas Spreer captured using dust-free Neumann tube microphones. Thanks to the churchs slight resonance, an aura of consummate polyphony with lingering harmonies is created when the music ebbs away. With Bachs Partitas sounding like this, it is irrelevant who the soloist was in days gone by. How fortunate we are to be able to enjoy such glorious sounds today!
As a child, Paul Florin was taught the violin and the piano and from a very early age he showed an exceptional talent for both. At the young age of 11 years he was awarded the first prize in the National Music Competition. He was awarded the Grand Prix Jacques Thibauld in Paris in 1977 and the first Niccolo Paganini prizxe in Genoa in 1979.
Inspiring Tube Sound:
What is it that makes "tube sound" what it is? The advantages of tubes over transistors are difficult to describe in technical terms. Perhaps the reference to the higher and different type of distortion with tube amplifiers is most applicable, although "distortion" has a rather negative meaning: the more distortion, the worse it is. So this can't be entirely right. Besides, the distortions of these microphones of 1947 are much too slight to be really noticeable. The recording of the Partitas of Johann Sebastian Bach with Florin Paul is, for me, although meanwhile almost 23 years old, still the best example in our TACET catalogue of the special quality of tube microphones. The two U 47 microphones by Neumann made their contribution.
Recorded 1989 in Falicon, Nice, France by Andreas Spreer.
Florin Paul, violin
Johann Sebastian Bach (1685-1750)
Partita I B minor
7. Tempo di Borea
Partita II D minor