Steinway "pinning" dilemma

[Otto Keyes]

Menahem Pressler was doing a master class at the Banff Centre a number of
years back and was demonstrating the tonal differences which could be
achieved by technique.  Being a born skeptic, I snorted under my
breath....until he actually did it.  The change in sound was not merely
subtle, but rather dramatic....and I still have no idea how he did it.
Since then I have been much more appreciative of a really skilled pianist's
ability to shape the sound.  Few can achieve it, but it certainly is
possible.  We have a new faculty member in this class of performer.  Almost
frightening.

Otto

----- Original Message -----
From: "Conrad Hoffsommer" <hoffsoco@martin.luther.edu>
To: "College and University Technicians" <caut@ptg.org>
Sent: Friday, October 10, 2003 12:03 PM
Subject: Re: Steinway "pinning" dilemma


> Ed,
>
> At 14:18 10/10/2003 -0400, you wrote:
> >Horace-
> >
> >Here's a question for you (and anybody else):  How would you imagine
> >mechanically,
> >a "blow"....or should we say "touch"? that is a mechanical imitation of
> >the way(s)
> >a fine performer might move the key?  It's easy enough to drop a half
> >pound weight
> >4", but that seems a very crude approximation of a way of striking a key
> >that is
> >seldom used in performance.
> >
> >My point is subtle (and some would say -too-subtle), that we should begin
> >with a
> >model of what sensitive performers do, then try to make a contraption
that
> >works
> >similarly.
> >
> >Ed Sutton
>
>
>
> I'm still trying to imagine ANY difference the string(s) would see from a
> hammer striking it at a given velocity, whether accelerated to that
> velocity by thumb, finger, half pound weight or forehead.  If escapement
> has occurred, the hammer is no longer mechanically connected to the key
> accelerator, right?
>
> The only connection to the action at the time of impact is the flange
> centerpin, hence the importance of good and consistent pinning.
>
> The use of a dead weight (other than my forehead) is for absolute
> consistency necessary for comparison,  as subtle differences in velocity
> can change the sound envelope.
>
> IMHO, "Sensitive" players only have an impact(pun intended) on repeated
> notes, when articulation comes into play.
>
> Where am I going wrong?
>
>
>
> Conrad Hoffsommer, Decorah, IA
> Household Hint: A set mouse trap placed on top on of your alarm clock
>   will prevent you from rolling over and going back to sleep.
>
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