[CAUT] Should performers rule? (Was Lacquered hammers)

[David Love]

It's hard to judge everyone's criteria for selection and as piano techs even
we have our own biases based on what it is that we prefer to be hearing
while we're working: warmer, long sustain, less percussive, more controlled
helps us as piano technicians but isn't always the best thing for the
pianist, especially on the concert stage where some sharper attack,
brilliance, even distortion are needed.  

One thing I try and think about with concert instruments is that they are
really mini orchestras.  In studying with various teachers (now some time
ago) they invariably discussed pieces we were working on in those terms:
think of this as the woodwinds section, or this as cellos, think of this
sforzando as being produced by the entire orchestra.  When you think about
the piano that way (and many pianists do) it becomes clear that the kind of
dynamic range required, especially in a performance, has to have broad
timbre changes and must include that brilliant upper end, full spectrum,
feel it in your chest explosion.  In fact, since many performance pieces
that frequent the concert stage reach their climax on just that type of
explosive sforzando, to have that restricted even with the best intentions
of creating a highly controlled and perfectly balanced sound can backfire.
What I choose to play in my own home probably leans more in that direction,
but on the stage, the performer will often choose the ability to throw that
orchestral bomb as part of the criteria which cannot be compromised.  

David Love
www.davidlovepianos.com


-----Original Message-----
From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Jim
Busby
Sent: Monday, February 21, 2011 11:29 PM
To: caut at ptg.org
Subject: [CAUT] Should performers rule? (Was Lacquered hammers)

Hi Fred, All,

I agree (below) NOT because I want to, but because pianists like you seem to
need that. We have 7 nine foot pianos for concert use, all different brands
except 2 NY Ds, (which are voiced very differently). The piano that I love
to play is never chosen, with pianists saying things like "no power" and "no
change of color". One of the NY Ds is so abrasive to my ears that I simply
can't play it, but guess what? That piano is chosen over my favorite 100
percent of the time. I am dumbfounded by this! Now remember, we have
pianists like Wu Han, Neilita True (sp?), Menahem Presler, etc. Not just
faculty and piano majors. After witnessing dozens of fine pianists trying
the pianos one begins to see what seems to be preferred. And believe me, I
ask them!

Should performers rule in how our concert hall pianos sound? Well, as long
as they have a choice between more perceived power, control, and timbre
change, as you said, then like it or not, they do. (perceived at the bench.
Pianists don't seem to care what it might sound like in the hall even if
told that it's better out there). After years at the bench this IS their
reality) This (performer selection) seems to be what has caused the
"homogenized" piano sound Laurence mentioned.

One "Steinway artist" tried our Yamaha CF and after playing one (1) chord
she exclaimed "Oh my! That simply won't do!" BTW, the Yamaha techs had just
visited and prepped the piano, so it wasn't my technical chops that
precipitated the "oh my". Except for this example I won't name other brands.

Those of you who redesign pianos have a daunting task. How can you bear to
risk an "Oh my - that won't do"? When I first changed the title of this
thread to "Steinway sound" I didn't realize the chatter, and sometimes
rancor, that it would cause. But I've learned a lot. When a 10 or 15 second
plop down at a piano is all some pianists take in selecting I can't imagine
the pressure of trying to design something to compete with some of the sound
canons produced nowadays.

Respectfully,
Jim Busby



<<<<< I guess my point is that the principle that
pianos should be made so that it is impossible to hit the keys so hard
that they will distort, is not a sound principle. It ends up being
counterproductive in other ways.

Regards,
Fred Sturm
fssturm at unm.edu
http://www.createculture.org/profile/FredSturm>>>>>