---------------------- multipart/alternative attachment So maybe I was right about thinking the springs were too strong! :D On Feb 28, 2006, at 9:48 AM, Chris Solliday wrote: > The double hitting came from the overly strengthened repetition > springs that accomodated his light and lightening touch which when > there was any tentativeness, and he didn't make the floor of the > piano with the dip, caused the berbling. There are other unusual > aspects to the Horowitz action as well. Chris Solliday > ----- Original Message ----- > From: Richard Adkins > To: caut@ptg.org > Sent: Tuesday, February 28, 2006 9:38 AM > Subject: Re: [CAUT] Re: Glenn Gould/Bach Stuff > > Ed, > Yes, I know... Horowitz's hammer blow distance was reported to be > 1.5"...but they had > to harden the hammers to make up for lost power...not everyone can > handle a piano > like that. Horowitz could. You will still hear double striking on > Horowitz' recordings, even > with the shorter blow distance. > > Glenn Gould wanted no aftertouch...but perhaps had to settle for > some aftertouch...still he > got double strikes. > > Richard > ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/caut.php/attachments/de/51/79/fb/attachment.htm ---------------------- multipart/alternative attachment--
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