"New" Hamburg Hammers

[Wolfley, Eric (WOLFLEEL)]

Michael, et al,

Thank you for your kind words and astute observations. The most common
comment I get when I ask someone why they prefer the new instrument over the
reworked one is that they feel "more comfortable" with it. In many cases, I
think you could probably replace the word comfortable with "safe". Claude
Frank performed here last season and after giving both instruments a
grueling workout chose the new instrument. When I asked him why he said that
if either one of the pianos were his only choice he would be completely
happy, but that he felt more comfortable with the new one. In addition to
Michael's ideas (which I think are completely true) is one that Roger
alluded to. The sound of the Wapin/Stanwood D seems to focus farther out,
giving the player less feedback when playing. It is more of a "listener's"
piano than a "player's". Maybe this piano belongs in our larger hall where
it can do battle with the orchestra. In a number of duo-piano recitals, it
has been the one with the lid removed and has more than held its own in the
volume department.

It is interesting and encouraging to me that this discussion is taking place
months after the event, and shows that the experiments on the piano and the
people playing or listening has been a success. The comfort or safety many
pianists look for both in an instrument and their approach to the music can
also be translated as a desire for "sameness" which is often very boring to
me. In this day and age, being the same won't get you very far....there are
too many great players out there. 

Eric



    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