Respect for PT's

[Z! Reinhardt]

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Ain't it a shame ... and I often wonder.

Some thoughts.  How much are we considered as merely "a variation on the =
theme of a stage hand" ?  The sound engineer, lighting director, and =
stage manager all get credits, but their crew members are rarely listed.

In how many instances are the liner notes, program notes, or other =
published verbal materials already at the printshop by the time the =
piano tuner is hired for the job?  I don't know how it is in other =
cities, but here in Detroit, the performance venues have a habit of =
waiting to nearly the last minute to get hold of a piano, then finding a =
technician depending on which dealer the piano was rented from.

Here's another thought ... how much could the credits given be a =
reflection of what matters most to the performer?  All too often, the =
piano technician is the "value-hidden extra" who works the magic while =
the others are away.  I personally like to meet the performers and find =
out what matters most to them when it comes to the piano, but there are =
some performers out there who prefer to remain "unavailable" until after =
the job deadline.  That same performer may have much more interaction =
with the sound engineer, and all those other people whose names appear =
on the published output than they do with the piano technician.

Well yes, I too got to see my name in bold print recently ... across the =
TV screen for work I did for a live broadcast.  The woman in charge of =
the credits was very busy collecting all of the information she could =
about everybody who had stepped into the studio that day.  She certainly =
made up for the apparent lack of interest the performer had in everybody =
else except himself and his immediate entourage.

Z! Reinhardt  RPT
Ann Arbor  MI
diskladame@provide.net
  ----- Original Message -----=20
  From: Billbrpt@AOL.COM=20
  To: pianotech@ptg.org=20
  Sent: Monday, July 22, 2002 1:08 AM
  Subject: Re: Respect for PT's


  In a message dated 7/21/02 11:34:47 PM Central Daylight Time, =
Richard.Brekne@grieg.uib.no (Richard Brekne) writes:=20



    It never ceases to amaze me how ignored we are otherwise in=20
    the industry. On stage productions, in films, on recordings,=20
    virtually everywhere there is piano music there must be a=20
    piano tuner who in no small way contributes quite directly=20
    to the quality of the music. Heck, on records they even give=20
    credit to who took the blinging picture of the artist, but=20
    almost never is there mention of the instrument or who=20
    prepared it.=20

    The more I learn about tuning, and the more I explore in=20
    what ways we are directly involved in the creativity that=20
    ends up coming out of the instrument, the more aghast I am=20
    that we as a profession have allowed (walked straight into=20
    ??) this state of affairs to evolve. The more I learn about=20
    the instruments themselves the less I understand why they=20
    are equally ignored thus.=20

    A nice exception to the rule is a Classical album given out=20
    by Maria Joao Pires who records Beethoven's Piano Sonatas=20
    13, 14 and 30. In the very short list of credits on the=20
    inside cover is the name of the Piano Technician.. one=20
    Kazato Osato, and the piano used.. a Yamaha CF III S. It was=20
    refreshing to see.


  This is one of the facts of life that will probably never change.  The =
piano technician is almost never mentioned in a live music program or in =
the liner notes of any recording or film.  Sometimes the kind of piano =
is listed but rarely, almost never, is the piano technician.  I don't =
see this changing and for that reason, I don't see any information about =
*how* the piano is tuned as being something that would ever even be =
thought of as appropriate information to make public.=20

  I'm glad you found an exception to this and fortunately, I was able to =
cause one too which will be available very soon.  A new Jazz CD will be =
coming out by the end of the month.  There are 2 pianos,  a Yamaha and =
Kawai, both grands.  The artist has been a customer of mine since 1978, =
24 years.  He owns a Steinway A.  He knows about and believes in what I =
do, so he agreed to put the following in the credits:=20
  "Piano Technician: Bill Bremmer RPT    Tuning: EBVT"=20

  I have my copy on order and will receive it by The 30th or 31st.  I'll =
listen to it, review it and post the ordering information both here and =
on my website for those who would like to hear what a piano in my idea =
of what makes a better set of compromises than current standard =
practice, sounds like.=20

  Bill Bremmer RPT=20
  Madison, Wisconsin=20
  Click here: -=3Dw w w . b i l l b r e m m e r . c o m =3D-=20

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