aftertouch

[Delwin D Fandrich]

Anne,

Well, I was giving them this. I haven't done this type of work for some years now. I
mostly went on to other things in the mid-eighties.

Set up properly -- and this is best done at the factory -- the modern action does not have
to have an excessively long key stroke and it does not have to have excessive inertia. I
don't really think they were asking for the Viennese action. They were simply asking for a
modern action that worked and was responsive to their touch in a way that would allow the
music to responsive to their emotions. Musicians -- no matter what their instrument of
choice -- should not have to be concerned with the mechanics of that instrument while they
are playing it. The mechanics of the instrument should be transparent.

(A side note to the marketing people lurking on this list: People will pay out more of
their hard-earned money to fulfill their emotional needs than they will pay out for
"features.)

Heavy, long-stroke actions are not, at least in my view, where the piano should be going.
If what Stephen is building is properly called the fortepiano, then what I want is a
pianoforte. I'm only half joking when I say that we should be changing the name of most of
the modern instruments to "forte" as opposed to "piano." I don't want one or the other --
the pianist should not be forced to choose between "piano" and "forte." Both should be
available in the same instrument. One of these days, when I'm feeling philosophical, I'll
go into what I think would have happened to the development of the pianoforte had it not
been for the Steinway juggernaut of the late 1800's.

Regards,

Del

----------------------------------------------------

Anne Beetem wrote:

> So Del,
>
>     It sounds like players still want a Viennese action.  Minimal dip and
> aftertouch, rapidity, more control to win more flexibility!     See, they
> really do need Stephen's instruments, especially for home and chamber music.
>
>     I'm delighted that you're giving them this.  I know I am continually
> frustrated at how terribly difficult it is to play, e.g. Schubert,
> properly on the typical modern grand.  The key dip and inertia are too
> great to create the effects necessary.
>
>    Thanks for the specs, too, I'm setting up an instrument this next week
> and will try them.
>
>     ab
>
> Anne Beetem
> Harpsichords & Historic Pianos
> 2070 Bingham Ct.
> Reston, VA  20191
> abeetem@wizard.net