[CAUT] Steinway Style II Grand

[Chris Solliday]

I agree with all this rationale except the difference between repros and
"original." "Original" is a challenge not looked forward to by the players
of the era that historical performance tries to recreate. I'm sure players
of that time were looking for the best instruments available, not some old
stressed out piece of wood surrounded by crusty buckskin and motheaten felt,
and dare I leave out the metal. My opinion, of course humble, is that this
so called "original instrument" concept just creates a mythical market for
the owners of some horrendous old dogs and unfortunately it obscures and
reduces the opportunities to hear the rather charming performance available
on reproductions, and not to mention reduces this important market. My hat
is off to builders of repros, fortepianos, harpsichords and clavichords and
the performers who have the integrity and wisdom to perform/recreate
historical music on instruments of the same relative age as when the music
was orginally performed. "the one armed piano tuner" Chris Solliday
----- Original Message ----- 
From: "Greg Granoff" <gjg2@humboldt.edu>
To: "College and University Technicians" <caut@ptg.org>
Sent: Tuesday, February 15, 2005 3:37 PM
Subject: Re: [CAUT] Steinway Style II Grand


> I believe Conrad makes an important point here.  This isn't really about
> what vintage of piano is an "improvement" over which other vintage.  We
have
> a Bach scholar here who is a harpsichordist/fortepianist who was one of
the
> people most influential in the "period performance" movement in San
> Francisco when it began in the 60's.  She owns a modern piano and enjoys
it
> as much as the next person.  However, she is always quick to point out
that
> period instruments, whether original or copies, playing and sounding as
they
> would have when new (we hope) are like fascinating time machines.  As she
> puts it, they "send us messages" directly from the past that tell us
> important things about the music written for them, as well as the
> experiences and feelings and judgements of the listeners and performers of
> the day as they moved about in their particular sonic world.  Modern
> pianists sometimes wonder why Beethoven often wrote such close chord
> voicings  in the bass cleff.  They sound like mud on a modern grand, but
are
> perfectly understandable on a Viennese fortepiano of the day.  Many of the
> bow gestures inherent in period style baroque string playing that are so
> necessary to the vividness and emotion of that sound did not become
apparent
> till people began using the lighter, lower tension Baroque bows, and so
on.
> For this reason, I myself, and many others I'm sure would feel cheated out
> of a very dynamic sense of our own cultural past if no one ever performed
on
> period instruments and all obsolete instruments were updated.
>
> Just my 2 cents as well.
>
> Greg
>
> ----- Original Message ----- 
> From: "Conrad Hoffsommer" <hoffsoco@luther.edu>
> To: "College and University Technicians" <caut@ptg.org>
> Sent: Tuesday, February 15, 2005 11:55 AM
> Subject: Re: [CAUT] Steinway Style II Grand
>
>
> > At 13:05 2/15/2005, you wrote:
> > >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 happy. 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
> >
> >
> > I really like Ansel Adams' black and white photography.
> > Ansel Adams had access to color film.
> >
> > I like Mozart on the fortepiano.
> > I have access to 9' grand pianos.
> >
> > Mozart didn't have the sound of a 9' concert grand in mind when he was
> > composing.
> > He did have access to fortepiani.
> >
> > As well as pianists can interpret Mozart on a 9', they can NEVER
duplicate
> > what Mozart had in mind.
> >
> > my biased 2¢
> >
> > Conrad
> > (just finished tuning two harpsichords...)
> >
> >
> > _______________________________________________
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> >
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