---------------------- multipart/alternative attachment Hi, Dave! At 08:27 PM 3/3/2005, you wrote: >Tone quality is always an interesting topic to me. Yup. >Kind of THE interesting topic for piano wizards. There's another topic? > I've gotten rid of a few recordings because I couldn't stand the voicing > of the piano. I usually keep even the ones I do not like...often as not, it is some artist performing something that I particularly appreciate (like a good deal of stuff from Cortot and Curzon). Equally often, I keep them as didactic tools - "...no, no, no...not like _this_...." >me too---more than a few; most of Keith Jarrett's recordings, for one. Except that then, you miss out on the genius quality of Keith's interpretations...no, they're not for the faint-hearted at times; however, there is always a reason for everything that he does...these are not simply tossed off "just because"...even if one does not agree (and, I often do not) with what he is has done, I have learned to appreciate what appears to be the process behind the end product. >Voicing in a major league, world-class manner is a product of creating a >tonal memory; this is done by listening to great pianos however you >can. The performance pianos recorded in the 40's and 50's were, by and >large, dark, powerful, clear, and throaty, with roar and snap at double or >triple forte, but NEVER clangy or distorted. IMHO. Yup...this period was pretty well over by 1970, depending on artist and label. >Modern recordings, while able to take advantage of pristine and precise >recording technology, often sound thin, bangy, and far away. And, _that_ is being truly charitable. >Thanks for your love of the craft, Barbara. Indeed! >More on this later. I do hope so. Best. Horace ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/a0/01/48/e4/attachment.htm ---------------------- multipart/alternative attachment--
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