<div> <font face="Arial, Helvetica, sans-serif">Yes, <i>de gustibus non est disputandum, </i>Matthew. That wasn't my question. Being familiar with the function and use of the sostenuto (circa 1830's), it is a great curiosity to me to find out where she used it. The "wherefore" is clear.<br> <br> Paul<br> </font></div> <div> <br> </div> <div> <br> </div> -----Original Message-----<br> From: Matthew Todd <toddpianoworks@att.net><br> To: Pianotech List <pianotech@ptg.org><br> Sent: Sun, 18 May 2008 3:59 pm<br> Subject: Re: Hewitt, Bach, Glasgow, Fazioli<br> <br> <div id="AOLMsgPart_2_865cdbad-9341-4ad6-a64c-55e59b970ac2"> <div>Everyone has different tastes.  Interpretation is very, very subjective.  I have a recording of Richter playing the WTC, and I feel he uses too much damper pedal throughout.  Ms. Hewitt's use is much more conservative.</div> <div> </div> <div>I am a firm believer that the damper pedal has a very minimal place in the music of Bach.  But the sostenuto pedal can be used on those occassions which require the sustainment of notes while others are played, which could not otherwise be reached by sustaining the notes with your fingers.</div> <div> </div> <div>There are several selections in the WTC, Book one where opportunities are given to sustain a treble legato line while using the sostenuto to make the low bass melody sustain rich and clear.</div> <div> </div> <div> </div> <div>Matthew<br> <br> <b><i><a href="mailto:revenkojones@aol.com">revenkojones@aol.com</a></i></b> wrote:</div> <blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); padding-left: 5px; margin-left: 5px;"> <div>Curious, David. Was the program only the Bach? Did her interpretation include the use of the sostenuto? How and where? Mighty curious. :-)<br> </div> <blockquote style="border-left: 2px solid blue; padding-left: 3px;">Ms Hewitt used all three pedals</blockquote> <div><br> </div> <div><br> </div> <div><br> </div> -----Original Message-----<br> From: David Boyce <<a href="mailto:David@piano.plus.com">David@piano.plus.com</a>><br> To: Pianotech List <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>><br> Sent: Sun, 18 May 2008 8:06 am<br> Subject: Hewitt, Bach, Glasgow, Fazioli<br> <br> <div id="AOLMsgPart_0_34937e1f-34c3-4d27-9e7c-6c49dfec092a" style="margin: 0px; font-size: 12px; color: rgb(0, 0, 0); font-family: Tahoma,Verdana,Arial,Sans-Serif; background-color: rgb(255, 255, 255);">OK, so, last night I went to hear Angela Hewitt playing Book 1 of Bach's Well-tempered Klavier at City Halls, Glasgow. <br>  <br> I've been to lots of recitals over the years. This was just about the most joyous, moving and uplifting ever. Ms Hewitt's preludes and fugues were profound, spiritual, considered, moving, never mechanical, never affected. <br>  <br> As I hoped, she played a Fazioli (her own?) and though I have played them, and have CDs of them, this was the first time I have heard one live in recital. I had a good seat, about twelve feet away from the piano. City Halls Glasgow has a legendary acoustic. It was completely refurbished a couple of years ago. <br>  <br> The tuner came on it the interval to tweak. I didn't speak to him as there was quite a bit of interest in the Fazioli and a good few people went up to the stage - some on to it - to look at the piano and chat to the tuner. (the stage is fairly low). <br>  <br> Ms Hewitt used all three pedals. The piano sound was superb. I've sometimes felt that Faziolis in recordings I've heard sound rather cold somehow. So it was interesting to listen in live recital. Having played a few of them myself I know that they feel fantastically even and the tone quality is equally fantastically even and well-balanced. In recital it was a delight to listen to. <br>  <br> Only the fact that I have another appointment prevents me from going back on Monday to hear Book 2. If you're in the UK, go! <br>  <br> Yesterday afternoon I tuned the beautiful Steinway B in the local theatre, for performance of Scots light baritone Peter Morrison (his mother taught beside my late Aunt). The Steinway there is from the 1880s but was superbly reconditioned by Steinway about 27 years ago, and it's wonderful. A friend who went to the concert last night told me this morning that Peter Morrison commented favourably on the wonderful piano......it's all in the tuning, of course! <br>  <br> Best regards, <br>  <br> David.  <br> </div> <div class="aol_ad_footer" id="u8CA8731D9FB8CA3-FC4-20A5"><font style="font-family: ARIAL,SAN-SERIF; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal; color: black;"> <hr style="margin-top: 10px;"> Plan your next roadtrip with <a title="http://www.mapquest.com/?ncid=mpqmap00030000000004" target="_blank" href="http://www.mapquest.com/?ncid=mpqmap00030000000004">MapQuest.com</a>: America's #1 Mapping Site.</font> </div> </blockquote><br> </div>  <div id='u8CA874ABB13AFEA-FC4-25FD' class='aol_ad_footer'><FONT style="color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style="MARGIN-TOP: 10px">Plan your next roadtrip with <A title="http://www.mapquest.com/?ncid=mpqmap00030000000004" href="http://www.mapquest.com/?ncid=mpqmap00030000000004" target="_blank">MapQuest.com</A>: America's #1 Mapping Site.</FONT> </div>