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<DIV><FONT size=2 face=Arial>That perception might be due not to lack of power
from the piano but to excessive volume from the orchestra, compensated to
some degree perhaps by tuning the piano sharp. I wonder if this competition
first occurred in American orchestras; back in the day, Bechsteins seem to have
managed okay with European orchestras in reasonable-size halls. But maybe
the contest was sparked by virtuosi who wanted to dominate the orchestra rather
than partner with it. Anyway, too bad the demands of concerto playing set a goal
of greater power for all pianos, and that concert grands became the norm even
for chamber music and voice accompaniment. Lots of singers and string players
would be happier performing with smaller pianos, but there's such status
associated with using a D that many pianists would be embarrassed at having to
use anything less, even for chamber music in a smallish hall. I'm not convinced
that the supposed greater range of tone from a D (even though not much
19th-century music gets into the lowest and top octaves) makes up for the
necessity of having to hold back; I'd rather enjoy a pianist playing the hell
out of a C or an A instead of pussyfooting around a D on a
half-stick. </FONT></DIV>
<DIV><FONT size=2 face=Arial>Laurence</FONT><BR><FONT size=2
face=Arial>.</FONT></DIV>
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<DIV> But admittedly I'm speculating as to why earlier Steinways
designs may have been successful, but perhaps not powerful enough to compete
with a large concerto orchestra in large halls, due to lack of hammer weight.
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