evolution (Kuerti)

[Richard Moody]

Gina, thanks for the reply.
	One of my mentors was always harping on aftertouch. And he would
accomodate those what wanted a lot and those who wanted a little, (and who
they were) and the different reasons, and the effects.  It was concert
work, something that seemed far in the future for me at that time. One
could probably call him a concert pianist. I imagined someday I would get
a first hand demonstration at the scene.  But time ran out for one of
those
days. I did get a good voicing lesson though.  You are right, sitting at
the side of a master at a piano, is the ultimate. 
Richard Moody 
	.  

----------
> From: Eugenia Carter <ginacarter@email.msn.com>
> To: pianotech@ptg.org
> Subject: Re: evolution (Kuerti)
> Date: Friday, March 27, 1998 5:10 AM
> 
> 
> From: Richard Moody <remoody@easnet.net>
> To: pianotech@ptg.org <pianotech@ptg.org>
> Date: Friday, March 27, 1998 4:14 AM
> Subject: Re: evolution
> 
> 
> >Very interesting. What changes did he want to make? After touch by any
> >chance?
> 
> Richardthecurious,
> 
> Somehow I knew you would ask that question. :-)
> 
> Yes, it was in aftertouch. If I recall correctly, there were a couple of
> notes that the aftertouch was slightly, almost imperceptibly, different.
> Though within what I would consider tolerance levels for a home
instrument,
> they were noticeable in a concert situation. Horace's comment "This is
> particularly true when viewed from the position of knowing where the
piano
> stops and he starts." was right on the mark.
> 
> I don't recall all the details but I do recall that he played the
passage
> that he felt would be improved (and subsequently was) by altering the
> aftertouch. It was a pp section that probably more than 3/4 of the
audience
> wouldn't hear; but he would! The valuable lesson for me was how it would
> have effected his playing.
> 
> If those notes had not been changed, his mind would have been
anticipating
> that section and rather than playing the passages before it musically,
he
> would have been concentrating on how to alter his own touch to
accommodate
> the difference. The adjustment allowed him to concentrate on the music
> itself rather than the piano.
> 
> I do recall that we spent much more time talking about what a concert
> pianist needs the piano to do than we did adjusting the piano itself. It
was
> an invaluable lesson for me and he was very generous to have shared his
> knowledge with me.
> 
> Gina
> 
> Gina Carter, Charlotte NC
> 
>