>One observation I have is I think the recording industry has sort of skewed >our expectations of what we should hear at a live concert. I mean, how many >concerts have you gone to that you can hear the piano (with orchestra) the >way you can hear it in a recording? Not many, I would think (unless it's in >a rather small hall and they're playing Mozart). > >Barbara Richmond, RPT Barbara, Depends on the pianist and conductor; yes, good balances and dynamic ranges are possible--with all composers! With regard to the student you heard, it's a common problem that most students need to address (and many pros too), that they lack projection. I think it's good to speak up about it, but I understand your reluctance to do it just the same. Tim >David Anderson wrote: > >That¹s the one.....thanks, Jason, for the correction. It¹s been on my iPod >so long I didn¹t remember the name of the CD. I highly recommend the >purchase of this CD for serious study of piano recording and concert >prep...keep in mind this was a LIVE recording, so that Barbara Renner, the >concert tech, had to balance the near-field sound and the sound in the back >of the hall. Usually, if the piano sounds good in the hall, it¹s a bit too >rangy, ³attack-ey² for recording, but she balanced the voicing of the >hammers in a masterful way. >And the tuning----amazing. Musical. Solid. Some of the best unisons I¹ve >ever heard, and the artist takes full advantage of the singing, long-sustain >tuning in his performance---you can tell he¹s listening to EVERYTHING. > >Best, > >David Andersen > > >_______________________________________________ >Pianotech list info: https://www.moypiano.com/resources/#archives
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