On Feb 23, 2011, at 10:17 AM, Ron Nossaman wrote: >> OTOH, I >> think it is delusional to suppose that such standards and criteria >> (in >> shorthand, a limited spectrum with a relatively shallow voicing >> gradient >> and a leveled off top) will meet acceptance in the concert hall. > > You still don't seem to get it. The top end doesn't "level off". A > broad spectrum, I think broader than is available with the standard > borderline CC board, with a top end that doesn't degenerate into > distorted garbage (color) at high attack levels, and a pianissimo > that most folks wouldn't have thought possible is, I think, progress. Your words describing it sound quite compelling, but the proof is in the pudding: do those instruments actually meet acceptance in the concert hall? Do pianists want to play them? Or is it that they are all wrong, don't know what's good for them, and need to be re-educated into how to listen to and respond to a piano? In which case, I'd say it is a lost cause - at least for the concert hall. So the question I have for you is, where is there such an instrument in a concert hall, an instrument that is in demand compared to other available instruments, chosen at least a good portion of the time by resident and visiting artists? From what I have heard, the answer is no (with the probable exception of Ron Overs' instruments in Australia - but I think that is a different animal, from my experience playing the ones he brought to Reno and Rochester). Regards, Fred Sturm fssturm at unm.edu http://www.cdbaby.com/Artist/FredSturm
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