Steve, Jon: More square piano meanderings.... I realize I hadn't mentioned the main reason for the Jan deGaetani recording with the square piano: historical value. This goes, of course, beyond academic historical interest to the very things we piano techs and musicians should be interested in, which is what you (Steve) have pointed out: the square's tonal character. Now we know about the necessity of the fortepiano in understanding the music of the period; I believe this is the point of using a square with Stephen Foster's songs, for example. The square was in many American homes in the 19th century, and much of this music was played with the square piano. And how fitting to use it for the Foster songs. Steve, don't diminish the power you string players have. A few of you string players easily drown out a singer - except for a few medical miracles - the modern voice, well rehearsed and warmed up, using normal vibrato, is about all us singers can muster. Put it with a small string orchestra and the singer better not get the orchestra mad. Back to the chamber rehearsal - I wonder if the Steinway was voiced a bit bright, or the piano difficult to play pianissimo. It is not always possible to match instruments in performance (period vs. modern), but I think I would want to have gut on a violin if used with a fortepiano, and modern strings with a Steinway D. But its a good point about the character of the square. It seems to me (not a designer) that a square is such a severe compromise both in terms of the action - extremely long key, no repetition feature - and structure - treble bridge bend - that it was a detour in piano development. But I don't really know - I only repeat conventional wisdom of the last 30 years. However, given the revival of interest in the fortepiano, I wonder if we all should be more careful than before when called to appraise/evaluate and give advice on a client's square grand. Again, I am interested in some others weighing in on this. Bill Shull University of Redlands, La Sierra University Loma Linda, CA In a message dated 99-05-06 18:06:23 EDT, you write: << The somewhat lighter, relatively transparent tone made balancing the small string ensemble as well as the vocal quartet as simple as could be. Eventually the pianist was convinced as well. She was able to cut loose a bit more, and didn't always have the feeling she would have been better off in the next r! oom. >>
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