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Sorry It's Jeff, My aplogies.
I Have also Had the experience you listed in the bottom of this post
but only once. & I'll contribute it mostly to Nervous artist syndrome for only
the pianist thought he wasn't getting enough sound at the keyboard in the
MJC rectal that was somewhat lacking in acoustic enhancement.( But I am
talking D & not M as was in your case & I think that would give many -concert
players a dis- advantaged feel if they were indeed used to a bigger sound for the
music they prepped for). I think some halls can suck the sound away from the
piano as did this one. Partly because of that and the placement of the piano
too far back from the front of the stage.
. Any way am very familiar with the D I refer to. (mine).
Many had played it prior to this occasion & In fact the sound the
audiuence was experiencing was GIGANTIC . It was enormously satisfying to hear that
much of the piano & I like big noisy pieces.The concert artist was playing a
huge all Russian music program. He played with SO much force his nails
completely destroyed the finish on the front of the fall board. He did everything he
told his Master class that day not to do. ie keep ones bottom on the
bench,don't pound,dont' stomp foot etc. I refinished the fall board later $300.00
At intermission he opted to finish his program on a newish B that had the
sound of shattering glass. Very typical linear Steinway sound with hammers
that had too much lacquer.
The rest of his Performance was glassy & empty sounding compared to
the D he started out on & this is the opinion of many others including music
teachers.
The applause at intermission was spontaneous & warm. At the end it was
obligitaory for Vladamir had shot himself in the foot with the my home town
crowd by switching horses mid stream
So here is another "depends on" to add to the mix
And that's the rest of the story
Dale
On Monday, January 10, 2005, at 04:15 PM, Erwinspiano@aol.com wrote:
> HI Jason
Jeff?
> SO,what you're saying is if the piano has no power at the keyboard
> it can still fill a large hall?
Just to clarify, no, that's not what I meant. I was addressing your
statement:
> 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.
I only meant that just because the artist can't hear the piano, doesn't
mean it isn't projecting well into the hall. You have no argument from
me that if the artist perceives the instrument as weak that that is
when you get the complaints. But I think it is often the deceptiveness
of the hall, or the placement of the piano in relation to acoustic
projection installations which brings on complaints, rather than the
instrument itself.
I tuned for a performance at a local church Friday. The piano was a
1966 Steinway M that I'd never seen before, and if you asked me it had
been tuned all its life and that's about it. The pianist felt she had
to really work to make the piano project because she couldn't hear from
the keyboard what was being projected up out and away from her. The
regulation was terribly uneven and the voicing was worse. I would have
needed about 3 days with that piano to make her comfortable. Out in
the room, however, which was pretty large for an M, but had excellent
acoustics, the piano was booming and had a lovely tone quality from pp
to ffff. Sounded more like a B or a D -- plenty of piano for that very
large room. The piano sounded much better when she backed off and
didn't work so hard. Thankfully, her husband (also a pianist) was also
there to console her and coach her towards that direction.
I think this isn't such an uncommon scenario.
Jeff
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