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In a message dated 1/8/2005 3:26:39 A.M. Pacific Standard Time,
phil@philbondi.com writes:
Hello all.
I sat in the audience last night to hear a performance on a 'D' that I
care for. I noticed that it's starting to sound a little strident and am
looking for some advice to make it less strident with a busy concert
schedule coming up.
>>> Hi Phil
Me too. I experienced a Modesto symphony Performance last night of Saint
-Saens Piano concerto in G minor. French Pianist Phillipe Bianconi thrilled
me with his style, control, emotion & the tone he illicited from Old Cd S&S
vintage 1941. His pianissimo passage work was absolutely ethereal. The piece
also thunders. I've not heard this piece before & was truly Moved & Blessed at
the beauty of what I heard.
At the same time I was thrilled to have the privilege to work with this
piano enough to have the kind of tonal resources available for such a pianist
as this. It was truly gratifying. I wasn't tense in my chair waiting for the
ax to fall or a string to fly out of the piano The tuning was solid a stayed
put despite the non stop rain & changing R>H. conditions. It was grand
The Steinway D 9 ft. is a different animal & have found over time,
Working with 9 fts. is an acquired skill that is a very different experience from
any other types of work we do.
I have received Much help from fellow techs./friends
Bob Davis of U.O.P conservatory of Music Stockton & Peter Clark at CSU
Sacramento in the care & feeding of Stwy D concert grands & have taken
instuction from the sounds that came from their beautifully prepped pianos.
There are so many variables. The type & size & acoustics of the hall is a
huge one. The Hammers ,the actions condition etc., Whatever, the thing I
learned first was that in order for a D to project ,& have color & susutain it
must be voiced so that sitting at the piano it will literally Roar at you. It'
was a shocking experience to think that Chopins rain drop prelude could
sound that sweet from 100 ft away & then have oppurtunity to play the piano in
person 10 minutes later on stage & hear how aggressive & powerful it sounded in
my face. This was many years ago.
"My" D at the symphony has a great board & the entire piano has been
rebuilt. I like this piano very much. I like the sound of properly voiced Stwy
factory hammers in these kind of pianos. However ,in this D,I have a set of
Isaac hmmrs with the same kind of felt That N.Y uses. They have been lacquered
of course.
Before the hall acoustics were enhanced/improved I had it voiced up to
project & do all those tonal things I described.
My first Pianist in after this was Robert Levine & I got a phone call. The
pianist would like to talk to you. Gulp. about the voicing. I already knew
this was coming but on the initial tuning for the week was limited to time on
that first occasion. Robert is a fine pianist & we were on the same page but
I hadn't really gotten to hear the piano played in the new hall so on that
day he played & I listened..
Really the needling required to get our desired result was not all that
difficult or time consuming & occurred in the areas on each side of the strike
pt. from 1 ocklock & 11 Ockclock. With these hammers I didn't need to go
particularly deep or use all that many strokes. I also did some crown needling
,deeper than sugar coat but not too many. This warmed up the sound nicely & a
happy balance of color,power & sustain for the new acoustics of the hall.was
achieved. The pianist was happy as was I
. More relevant to your situation ,Had I the time to wash the lacquer away
from the crown a bit I would have done that but time didn't permit. I've
touched it up a few times with needles since to smooth out a few glaring notes.
I've learned that just because no one has complained about the piano
doesn't mean objections aren't being noted by some who play it.
My feeling is that experimenting too close to a concert can be dicey &
give one a good case of anxiety.
Usually If I'm happy with what I'm hearing most pianist/folks are to. Work
on the piano at your leisure. Get others who play well to come in & play it
while you stand away from the piano in the Hall.
It would be good to know about your hall , the hammers , the vintage of D
& the health of the board & various components to be any more specific. There
many others that have experience in this venue. Ask Horace, Bob Andre, Big
Dave Andersen & More. Each will have a different thing to add.
Good voicing to you
Dale Erwin
-My initial thought is to start to improve its voice from either end and
work my way towards the middle.
- Would it be wise to add any liquids to the hammers during my tunings,
knowing that withing a few hrs., the piano will be played for a performance?
The reason this has to be done gradually for right now is quite simple:
a very busy concert schedule coming up with time available to the
instrument limited at best. From what I heard last night, it MIGHT take
a little more than just needling to get it to where _I_ want it to be.
Also, please be aware that no one has complained about the piano..quite
he contrary..people have been very complimentary to me about the piano.
Regardless, what I heard last night could be made better and I'm looking
here for the advise and expertise of those here who may have been in a
similar situation.
-The one thing I have thought of is this: The piano will not be used the
entire month of February with Phantom coming into the hall. It MIGHT be
possible to work on it then, but again, I don't know if the piano will
be available or accessible. Phantom takes up alot of space backstage..
Thoughts and ideas greatly appreciated,
Phil Bondi(Fl)
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