Inharmonicity

[Antares]

robert sadowski wrote:

>Could it be that a certain amount of inharmonicity is
>part of the charm of the piano?  I'll admit that a Kimball spinet doesn't
>have a lot of charm and a lot of the other. I haven't seen this slant
>brought up before.  I hope it generates some opinions.

André Oorebeek answers:

Dear Robert, dear Colleagues,

I do not think that there is a definite answer to your question.

I have here in my office a magnificent Bechstein upright from 1896 with a double repetition action.
The ribs have been renewed, the soundboard repaired, it's been restrung, the outside restored to its' former glory, the ivory bleached and polished, the action taken apart completely and put together again.
The sound of this Bechstein is one you can not buy anew...it does not exist anymore, for the former concept of pianobuilding has changed drastically.
In this particular instrument I just described, one can only hope (after all the restoration work) to have regained maybe 70 or 80 % of the quality of the past.
Yet, this instrument is so beautiful now, that, compared to Bechsteins of today, I would probably not buy a modern one...that rich "creamy" sound simply is not here anymore. (this is my personal opinion, and, we >must< consider certain difficulties this factory engaged in the period after WW two)
The concept of touch, sound, and the design, have changed gradually during the last one hundred- plus years.
On the other hand, other factories have been able to change their concepts in such a way, that I would definitely choose for a brand new instrument built today.

Then, we have the "other piano realm" inhabited only by Pianofortes and Hammerklaviere..
Of course we can not, and must not, make a comparison between these instruments and our modern pianos. 
Different periods in music can be played on different kinds of instruments, and we as pianotechs, encounter two totally opposite kinds of musicians : the ones who play Mozart on a modern piano and/or an historical instrument, and the ones who play Mozart exclusively on an old pianoforte or a newly built copy (which I like better than the original ones).
We will undoubtedly all have our own personal meaning and taste...

I like the sound of Pianofortes, it is a very richly colored and highly interesting sound. 
Yet, I have definitely chosen to not get involved in tuning and repairing them, because I like the stability of a modern European piano, an American piano, a Japanese piano and others.
They give me a more secure technical basis for succes in pleasing my customers and I like the thundering power and tonal beauty of a modern Concert grand better than the frail and subtle beauty of the antique design.
 >I< would also choose for a brand new Mercedes (to name a name) instead of one built in the thirties...it will give me more power and technical pleasure because it is much more advanced.

Nevertheless, I repeat...it is my personal meaning, but since I too am allowed to subscribe to the pianotech list, and because this issue interests me, I will gladly come forward and share my opinion. 
Awaiting your response....


Friendly greetings from :
          
CONCERT PIANO SERVICE
André Oorebeek
Amsterdam, the Netherlands
       
‰  where MUSIC is no harm can be  ‰