Ed and Dave, >but although the sound of this piano was sweet, >it was too small for the concert stage, hence the >move towards heavier hammers of the modern age. > >Something to think about! > >David Stanwood >I'm also curious if you have played pianos with various 19th century >actions, and if they may have been more expressive for you. > >Ed Sutton You both hit the nail on the head. I am infact looking in someways for a giant step...backwards. When more power began to be required from of the instrument, as in any engineering compromise, something else had to be sacrificed. Chamber music, that is music played in a more inter-personal setting, does not require the power the modern piano is set up to deliver. Its like driving a muscle car, all tricked up to race, to the supermarket; way too much power for the tack at hand. So yes, I would like to see the sound as well as touch that we consider appropriate to different musics be reflected in differing piano designs. For instance, I have heard pianos like I forget which one of Del's small Walter grands, depricatingly dismissed as "too sweet"...completely missing the point that the piano was designed for a small room sized venues. Same goes for the older Chickering grands..."too sweet", or "emasculated"...but wonderfully appropriate for many styles of music and certain venues. I wonder how much of this discussion might describe what Gould loved about his "beloved Chickering"? Ed, back before I knew what to focus my attention when playing pianos, I had the good fortune to play the dreaded "Brown" action in good repair. And I loved it. I would like to sit down with one of them again with the perspective I now have. Jim -- Jim Ialeggio www.grandpianosolutions.com (under construction) Shirley, MA (978) 425-9026
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