> This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ---------------------- multipart/alternative attachment A couple things. There are mebbe a few musicians who get into the =B3historical accuracy=B2 thing because they want to find a niche, and aren=B9t all that good. But there are also really fine, utterly superb, musicians involved in the historical accuracy movement. Rachel Podger comes to mind. Plays a real baroque violin in baroque style like the music is coming directly from a very sensitive soul through her fingers. There=B9s a lot of historical accuracy stuff out there that is boring, boring, boring, but tha= t doesn=B9t mean the movement itself is out in left field. Only some of it is <g>. Clearly, just playing on historic instruments or copies thereof, with good intentions, doesn=B9t necessarily lead to fine music making, but it can. The other point I=B9d like to make is that there is a definite connection of musician to instrument which evokes certain responses from the musician. I have had several real =B3revelation=B2 type experiences playing on various historic instruments: so this passage really does work! Wow, a Viennese piano plays like silk, and a Broadwood like a truck, just like those old guys used to say and write! In other words, having the opportunity to play on a historical instrument in close top original condition can be an extremely valuable educational experience. I=B9d love to have the opportunity to play on an 1870 Steinway with light hammers and high ratio. I wouldn=B9t be in the least interested in playing on= e that had been retrofit with a modern action. Another couple pennies in the pot. And I=B9ll add my support to the idea of restoring the piano originally in question rather than remanufacturing it. I=B9d also caution taking whatever advice you get from Steinway on the matter with a heaping teaspoon of salt. Too many conflicts of interest, and lack of restoration experience. Regards, Fred Sturm University of New Mexico On 2/15/05 1:16 PM, "Ed Sutton" <ed440@mindspring.com> wrote: > It's a fair guess that Chris is correct that Liszt would want the fastest= , > loudest piano available, at least if he were playing his virtuoso show pi= eces. > (And maybe not for other music.) > On the other hand, Chopin, Schumann and Brahms would be harder to predict= . We > know that Chopin made peculiar selections of pianos, if loud and fast are= the > sole criteria. Anyone who has played a Viennese action piano, early or l= ate, > knows that these instruments articulate the classical and romantic repert= oire > in a way that can't be done on a modern action. > I, for one, don't wish to spend all my travels on I-95. > ES ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/caut.php/attachments/a5/61/51/b9/attachment.htm ---------------------- multipart/alternative attachment--
This PTG archive page provided courtesy of Moy Piano Service, LLC