Being a west coast resident I don't get to travel I95 often, but I don't forget my 5 hours on I95 in a rented Chevy S10 which had uncomfortable seats. The little side jaunts in Conn and Mass were wonderful diversions.... I'll leave that for what it means to the reader...if anything...but I have to bite on the comments about Liszt (Ed, I know your comments on Liszt were qualified and nuanced, but I couldn't resist this anyway). The question of what the composer would PREFER is interesting, but not nearly as important as what the composer HAD and USED, that is, what the composer preferred from the available instruments. Liszt, the archetypal 19th century progressive, went for the biggest and best machine available. But he had nearly finished composing by the time the modern piano began its development in the 1860's. 90% of Liszt's piano repertoire would be best understood on a reproduction Erard of the mid-19th century. Unfortunately, none exist. So we make do with restored instruments, which at least give us a cloudy picture. While Liszt played loud and fast, he played slow and singing, he played soft and fast...His development of piano technique brought color as a musical element up to the level of one of the essential elements of music. For us to understand the music of Franz Liszt - to understand what he heard and what his audiences heard - we would need a reproduction Erard. Unfortunately as instruments became larger they became more expensive. Reproductions are more expensive, too; A reproduction Erard will be prohibitively expensive until an inspired benefactor commissions several to be built (why not build more than one, and spread the costs - and the benefits - out some?). Bill Shull In a message dated 2/15/2005 3:16:30 PM Eastern Standard Time, "Ed Sutton" <ed440@mindspring.com> writes: >It's a fair guess that Chris is correct that Liszt would want the fastest, loudest piano available, at least if he were playing his virtuoso show pieces. (And maybe not for other music.) >On the other hand, Chopin, Schumann and Brahms would be harder to predict. We know that Chopin made peculiar selections of pianos, if loud and fast are the sole criteria. Anyone who has played a Viennese action piano, early or late, knows that these instruments articulate the classical and romantic repertoire in a way that can't be done on a modern action. >I, for one, don't wish to spend all my travels on I-95. >ES > > >----- Original Message ----- >From: Don McKechnie >To: caut@ptg.org >Sent: 2/15/2005 2:01:36 PM >Subject: Re: [CAUT] Steinway Style II Grand > > >Wouldn't it be great to see Chris argue his point with Malcolm Bilson. Might turn into a slug fest! :-) Having lived here in Ithaca (the land of historical performance practice) for some time, I find listening to music performed on historical instruments interesting at least for an academic standpoint. And, occasionally it is a great musical experience. Cornell has a couple of pianos from the mid 1800's that sound very good and when played by a skilled pianist, can be very rewarding to hear. Just my humble opinion. > >Don > > > > I may as well take this opportunity to come out of the closet and reveal my bias, actually a pet peave, just to be fair. In case anyone wasn't catching the drift, I have almost no use for historical instruments. I can't imagine any musician of the day, say Franz Liszt, looking for "the good old piano." Most often professional pianists, unless they are looking for novelty, or are overcome with this absurd nostalgia for "original instruments," look for the best new piano they can find. 'Cause the design is up to date and the parts are new and it plays like they expect. Everything else is ANOMALY. And unless your customer is of that ilk I'd stick to I-95. (I do make one notable exception and that is reproductions. They make for wonderful "Historical" concerts although I do think the whole concept is a bit hysterical). Of course Stephen, be attentive to what Bill Shull and others are warning of cause this isn't I-95, but get as close as you can and a "NORMAL" customer will be h! >appy. And BTW, sorry Bill, we're full at MARC and printed for this year, but I have forwarded your shameless self invitation to Steve and Paul and will put in a good word for you. >Best to All, > Chris Solliday >
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