Michael, I really appreciate your comments about the 29 D. Its' also nice to hear something positive about Cincinnati as a contrast to the media attention we've been getting. Michael Wathen Michael Jorgensen wrote: > > jolly roger wrote: > > > > > Talking to the Grad student, however, she much preferred the New D. Several > > in the group played both pianos, > > 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 -- Michael Wathen http://www.wapin.com
This PTG archive page provided courtesy of Moy Piano Service, LLC