[CAUT] tone building for impatient pianists

[Porritt, David]

That's a tough one Dennis.  We had our main recital hall Steinway out all summer and while it was gone people understood they'd have to use the other piano.  Fortunately we don't have much going on in the summer.  When the Steinway came back I kind of kept it out of sight until it really was ready.  I still probably introduced it a little too soon, but at least the hammers weren't Steinways so that aspect was ok.  I've sent memos (emails) but let's face it with musicians it's "I have to have this........."  In a venue where there's a second piano I just act unsympathetic and point to the other piano.  One guest this summer was upset that he'd have to play the Yamaha CFIIIS for his recital and eventually moved his program to our smaller recital hall where there is a Steinway B.  That's fine with me!

Musicians are not always the most understanding people, though our university people are very easy to work with.

dave

David M. Porritt, RPT
dporritt at smu.edu<mailto:dporritt at smu.edu>

From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Dennis Johnson
Sent: Tuesday, November 18, 2008 3:31 PM
To: College and University Technicians
Subject: [CAUT] tone building for impatient pianists

Hi-

Some recent experiences lead me to inquire how others may deal with certain impatient expectations regarding tone building on new hammers, specifically S&S hammers that require extra juicing in the treble.  This is all standard procedure, but generally my experience shows that the best results are achieved not quickly but through a combination of playing in, hardeners and needles over a bit of time.  Unfortunately, the event calender rarely allows for optimal time.  Do you send a memo to everyone explaining all this?  I've had similar problems as related to instability on a newly restrung piano being required for certain events before it is ready.

Thanks,   but having a bad day-

Dennis Johnson
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