Stuart Concert Grand

[David Boyce]

Hi folks,

Thanks for the extra Gaelic, Ralph.  Keep this up, and I'll be fluent in no
time!

Newton, you ask for details about the bridge 'agraffes' on the Stuart grand
I mentioned.  Actually, I called tham agraffes for want of a better term. 
They are specialised mountings designed by Wayne Stuart himself.  There
isn't a still photo of them, but they can be seen in the video, which as I
said, is temporarily on loan to a customer of mine.  I'll endeavour to give
a better description when I get it back and have another look.  But I seem
to recall something in the nature of a v-shaped slot, a hooked top, and a
thin rod. The thing looks to be made of brass or bronze.  I found that I
still have a leaflet about this piano (which, incidentally, is very
beautiful in appearance), so here is a quote from it:

"Stuart & Sons pianos are designed and hand-crafted in Australia.  They
incorporate innovative design principles that enhance dynamic range and
sustaining qualities.
The two models currently available are a 1.3 metre upright and a 2.9 metre
concert grand.  Each model has eight octaves (F 21.8268 to f 5587.6517
hertz) and is fitted with four pedals: dolce, dolce muto, sostenuto a
scelta and sostenuto.
A unique string coupling system produces exceptional clarity of tone,
opening new horizons in piano making and performance technique.  The pianos
are sympathetic to the entire piano repertoire, and superbly sensitive and
responsive for accompanying and chamber music.
These pianos are constructed under the auspices of the University of
Newcastle's Faculty of Music and form a major research and development
initiative to establish the basis for small scale production in Newcastle. 
Further details can be obtained from the Dean, Faculty of Music.
Wayne Stuart, the designer and maker, studied piano building with leading
manufacturers in Europe and Japan and has spent over 15 years as the
principal trainer of piano technicians in the South Pacific region.
Stuart believes that the current limitid choice of differing aesthetic
qualities in modern musical instruments disadvantages musicians and
ultimately leads to a decline in performance standards.  the great
tradition of western musical instrument making requires constant change to
remain vital and relevant.  These objectives have driven the research
initiatives culminating in the Stuart and Sons piano."

In one of the short video programs,  a comparison is made, in connection
with Stuart's string/bridge coupling, between a bass string note on his
piano with the same note on a Steinway.  It is clear that Stuart's does
indeed have a very different harmonic content, with the undamped note
sustaining a long time.  Actually the one note on its own does not, to me,
sound preferable to that on the Steinway.  But the overall effect of the
whole piano is excellent.  Hope this info is of some use.  Professor Robert
Constable, Dean of Faculty of Music, as I said, very kindly sent me the
info and video from Australia.

A recent thread which I much enjoyed was about mathematical equal
temperament versus aesthetics, and 'well-temperament'.  Years ago I thought
up a definition of tuning, which I sometimes share with clients of an
enquiring disposition; Here it is:  "Tuning is part Arithmetic, and part
Flower-arranging!"

Regards to all,

David Boyce.
David@bouncer.force9.net