information for a dissertation

[J Patrick Draine]

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On Friday, February 15, 2002, at 08:32 AM, LHudicek@aol.com wrote:

> I know of Richard Bunger's book, which is out of date and no longer in 
> print,
> and Alan Eder's video which is wonderful, but can only scratch the 
> surface,
> so to speak.  However, there is no comprehensive document that focuses 
> on
> damage, on the repertoire, how to execute each technique properly 
> without
> damaging the piano or one's self.
>

Laurie,
Though I was aware of those two works, I haven't yet read/seen them. 
Could you provide the list with further information which might allow 
those interested the opportunity to track them down (inter-library 
loan?)?
I think that it would be beneficial to take a two-pronged approach: 
educate the technicians as to the specific "demands" of the pieces, and 
listening carefully to the technicians' legitimate "complaints": damage 
to strings, dampers, etc.
 From that should come a document which will help the player request the 
technicians' assistance in the instrument's preparation, and educate the 
technician in non-harmful methods of accommodating the piece/player. In  
addition it should make the promoter/hall manager/ et al aware of 
potential damage liability, and the necessary expense of additional 
compensation for the technicians' professional services in the 
"modification" and "demodification."
It certainly shouldn't be up the artist playing in the next week's piano 
quartet to pay for the removal of glass shards (Crumb) in the S&S D's 
action, or repairing the various kinds of damper damage mentioned by 
others.
My point is that showing the artist how to modify/demodify is not 
sufficient.
And the usage of an already "well worn" instrument rather than the 
premier hall piano should be thoroughly considered (and "gee do you know 
much it will cost us to move a klunker grand in and out of the hall?" 
should not be considered a suitable  reason to use the "good" piano).

Best wishes,
Patrick
> Perhaps I should have explained further.  I will also be including 
> diagrams
> of different pianos to aid students in how to move their piece from 
> their
> practice piano to a concert piano (For example, Baldwin grands are 
> impossible
> to play Crumb on). I will include techniques such as bowing the piano
> strings, where to knock on the case to get a good resonance, what the 
> nuts
> and bolts should be made of, which of these things should not go into 
> the
> bass strings.  If brass or steel is better.  Etc.
>
> There is so much more that is going into this. If you would like to know
> other details and provide your comments, it would be greatly 
> appreicated.
>
> Thank you,
> Laurie Hudicek
>

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