This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Hi Andre, It was then that he said "wow! I can play anything on this one, but it = is a dangerous instrument because it is too fast, and it also is too = brilliant! So he bought the beautiful instrument with a lot of friction, and not = the 'easy' and brilliant one which had almost no friction left at all. The lesson for me was : 1. The cheater will be cheated 2. An instrument with hardly any friction at all is perceived as = "slippery, untrustworthy, dangerous, and uncontrollable. 3. Someone making a major investment is more likely to stick with a = known standard, even though his gut tells him that something else is = sexier or more appealing. 4. Any pianist worth his salt knows that he'll be playing pianos besides = his own. In order to play those other pianos, he's going to have to = practice on pianos with similar performance properties. If a practice = piano is too dangerously "fast," then he's only going to get himself in = trouble when playing slower pianos. If you can't take your practice = piano everywhere with you (like Horowitz), you'd better have a piano = that resembles what you're going to perform on! Incidentally, I've known pianists to make their pianos intentionally = heavy and klunky, just so they would have the performance edge when = playing on any other piano. It's like running with weights on to = practice for the race. But yes, your story does help me to understand the dynamics of this = preference. It's an interesting story, to be sure! Peace, Sarah ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/56/d2/55/6f/attachment.htm ---------------------- multipart/alternative attachment--
This PTG archive page provided courtesy of Moy Piano Service, LLC