"New" Hamburg Hammers

[michael wathen]

Michael, 

I really appreciate your comments about the 29 D. Its' also nice to hear
something positive about Cincinnati as a contrast to the media attention
we've been getting.

Michael Wathen

Michael Jorgensen wrote:
> 
> jolly roger wrote:
> 
> >
> > Talking to the Grad student, however, she much preferred the New D. Several
> > in the group played both pianos,
> 
>     As of the pianists who played the two pianos at Cincinnati, I believe I
> know several reasons she "preferred the new D".
> She said, "I just feel a little more comfortable with it".  Like new software,
> or a new car,  a more powerful piano with better touch response takes some
> getting used to.  This just isn't done in twenty minutes infront of others.
>      The second reason are those Giant Renner Gross-6 hammers.  This girls'
> flagship work was a Scriabin Etude which  demands tremendous dynamic contrasts,
> and great physical force and speed.    One of Howowitzs' flagship works,  it is
> easiest played on a lacqueritus D with a light touch.  She was a small girl
> asked to play this repeatedly, something most pianists probably couldn't do,
> especailly with a higher touchweight.
>        When I played, I perceived a slightly higher touch weight on the '29 D.
> There was tremendous sustain (Wapin), and an almost uncanny evenness of
> response (Stanwood).  It was possible to attain much lower Pianissimo without
> risk. Without time with the piano, (like hours), it is not possible to fully
> utilize that safely.   It was like playing in air, almost a surreal
> perfection.  It did not feel like a Steinway, but similar in character to some
> European pianos. The New D was like an old friend, very similar to our three
> year old D, in tone and touch.  Eric reported its' strike weights were "All
> over the Place" which I'm sure is typical.  I'll bet some hammer shanks are
> doing ten swings which would help in that Scriabin.  It was like turning in a
> nice new rental car for my aging Taurus, which like an old friend, is
> comfortable with all its' faults.
>       Evenness and delicate precision matters most in Mozart and other
> classical period music, but is not fully noted in virtuoso heavy works .  The
> Scriabin primarily sustains bass tones, (something even the poorest concert
> grands do well).   A weak killer octave would be a problem in that work, but
> neither piano appeared suffer that .  I don't believe the music allowed Wapin
> to be fully displayed.
>      Eric also mentioned that faculty are generally choosing the new D for
> their concerts and he wishes they would use the '29 D more.  My experience has
> been that pianos develop reputations which are not easily broken.  As it
> evolved from an old rattle trap to its' present state in gradual stages, the
> differences may not have been fully appreciated.  Pianists view their recitals
> as life and death issues.  Would you care to ride an airliner that had a
> history of problems or a "negative reputation" and had some experimental things
> done to it?  This makes it an uphill battle and will take some objective
> visitors.  Sadly, most visiting artists are going to get the "Scoop" on the
> instruments on their ride in from the airport having their objectivity clouded.
> 
> -Mike

-- 
Michael Wathen			
http://www.wapin.com