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<DIV>
<DIV>First, let me say I've enjoyed every thoughtful contribution to =
this
discussion and its whole should be presented as the paradigm of what's =
good
about the PTG and its members. I want to direct those interested =
to a book
by Alfred Brendel, his collected essays, entitled <U>Alfred Brendel On
Music</U>, specifically the chapter titled "Coping with Pianos", ppgs
335f. In this writing, I quote, "If only one could make some piano =
players
understand that they would be of greater service to music as piano
technicians! The training of the tuner should, in any case, put =
more
emphasis on the artistic education of the ear. And tuners =
should-in my
Utopian view-be better pianists. On the other hand, all pianists =
should be
expert voicers-if only in self-defence. A course on the regulating =
and
voicing of pianos should be obligatory for all piano students at music
schools.", end quote.</DIV>
<DIV> </DIV>
<DIV>The chapter goes on about the differences and similarities of =
pianists and
technicians and I'd recommend it to your attention. As a pianist =
who has
studied at both I.U. and at Juilliard in the night division, I know that =
very
few pianists have any knowledge of the technician's art and =
capabilities.
Other than the crème de la crème, most don't even know how to =
describe what they
want to us. Having attended master classes with both Brendel and =
Leon
Fleischer, I wouldn't doubt that they would enjoy our deliberations here =
and
might even contribute to them. I have scanned other books in my =
library
about and by great pianisits for references to temperments but to no
avail. I'd be curious if any of you have seen temperments =
discussed by
them.</DIV>
<DIV> </DIV>
<DIV>I'm a lurker, as they say, but must say Thank You! to writers =
like
David Love, Mr. Stein, Ron, virtually every single person who has made =
this
discussion to fruitful. </DIV></DIV></BODY></HTML>