Kuerti article, part II (long)

[Horace Greeley]

Susan, Jim, Jeff, et al

At 05:57 AM 3/4/2004, you wrote:

>On Thursday, March 4, 2004, at 05:56 AM, Jim Harvey wrote:
>
>>Hello friends and colleagues (providing I have any of either after
>>this reply),
>>
>Jim,
>When I posted offlist/onlist to Phil, the points you make are exactly the 
>sort of concerns I was referring to.  With all due respect to Mr. Kuerti, 
>many of the methods he describes are understandably outdated (yes the 
>article is 30 plus years old, and is based on his experience going back to 
>the 1940s if I read correctly)).  Quite a few of his regulation standards 
>are based on personal preference, and I disagree with some of them as a 
>general rule.  Some are simply not practical for even quite advanced pianists.
>
>Still the spirit of the article is a valuable resource for pianists and 
>technicians alike.  The bulk of his descriptions are accurate, despite the 
>few differences in personal preference and changes brought upon by 
>advances in the past 30 plus years (not to mention changes in design).
>
>I, like you, wonder how much of this article he would revise today.

Since I am, I think, the one who mentioned this article to begin with....

In general, I could not agree more with the above views.  Further, I am 
sure that Mr. Kuerti would write something different today.  Like the rest 
of us, he has learned a great deal in the last 30 years - moreover, he 
continues to be looking forward, working to incorporate new 
discoveries/knowledge into his own work and environment.

I last tuned for him several years ago in Carmel (another story) and we had 
a chance to catch up.  His commitment remains to the service of whatever 
will help create the best musical experience for all concerned.  To that 
end, his active interest in our end of things as a major factor in that 
experience has certainly not flagged.

In terms of his regulation preferences, I frankly find them much more 
conservative than those of any number of other well-known pianists.  But, 
then, part of what we need to remember is that performers who travel a good 
deal generally have to put up with a good deal (in terms of quality of 
instrument).  I do think that a reasonable argument might be put forth 
that, in many markets, pianos are in better shape than they used to 
be.  (Interestingly, the contract rider for George Winston, which has long 
unnecessarily produced sleepless nights, is now revised in a way which 
reflects this change.)   At the same time, that is certainly not 
universally the case.  (Even here in the SF Bay area, I can think of a 
number of venues where the instruments simply stink.)    In any event, the 
pianist continues to be at the mercy of forces far beyond their control.

It is from that context that I find, however presently outdated, this 
article important.  Here is an internationally acclaimed artist who has 
taken the time (albeit a while back) to carefully think through and present 
things that might be of help to other pianists...and, for that matter, 
technicians and presenters alike.

Perhaps it will prove possible to induce either Mr. Kuerti, or someone else 
of similar stature, to revisit this topic.

Best.

Horace