Hi Mike, Thank's, an excellent over view, you kind of confirmed some of my gut reactions. Regards Roger > > As of the pianists who played the two pianos at Cincinnati, I believe I >know several reasons she "preferred the new D". >She said, "I just feel a little more comfortable with it". Like new software, >or a new car, a more powerful piano with better touch response takes some >getting used to. This just isn't done in twenty minutes infront of others. > The second reason are those Giant Renner Gross-6 hammers. This girls' >flagship work was a Scriabin Etude which demands tremendous dynamic contrasts, >and great physical force and speed. One of Howowitzs' flagship works, it is >easiest played on a lacqueritus D with a light touch. She was a small girl >asked to play this repeatedly, something most pianists probably couldn't do, >especailly with a higher touchweight. > When I played, I perceived a slightly higher touch weight on the '29 D. >There was tremendous sustain (Wapin), and an almost uncanny evenness of >response (Stanwood). It was possible to attain much lower Pianissimo without >risk. Without time with the piano, (like hours), it is not possible to fully >utilize that safely. It was like playing in air, almost a surreal >perfection. It did not feel like a Steinway, but similar in character to some >European pianos. The New D was like an old friend, very similar to our three >year old D, in tone and touch. Eric reported its' strike weights were "All >over the Place" which I'm sure is typical. I'll bet some hammer shanks are >doing ten swings which would help in that Scriabin. It was like turning in a >nice new rental car for my aging Taurus, which like an old friend, is >comfortable with all its' faults. > Evenness and delicate precision matters most in Mozart and other >classical period music, but is not fully noted in virtuoso heavy works . The >Scriabin primarily sustains bass tones, (something even the poorest concert >grands do well). A weak killer octave would be a problem in that work, but >neither piano appeared suffer that . I don't believe the music allowed Wapin >to be fully displayed. > Eric also mentioned that faculty are generally choosing the new D for >their concerts and he wishes they would use the '29 D more. My experience has >been that pianos develop reputations which are not easily broken. As it >evolved from an old rattle trap to its' present state in gradual stages, the >differences may not have been fully appreciated. Pianists view their recitals >as life and death issues. Would you care to ride an airliner that had a >history of problems or a "negative reputation" and had some experimental things >done to it? This makes it an uphill battle and will take some objective >visitors. Sadly, most visiting artists are going to get the "Scoop" on the >instruments on their ride in from the airport having their objectivity clouded. > >-Mike >
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