On Apr 15, 2009, at 1:49 PM, Delwin D Fandrich wrote: > Steinway, along with many other pianomakers, knew this "secret" some > decades > back. Most seem to have lost it in these "modern" times in their > rush to emulate > the hard and brassy sound that has now become so prevalent. I have a more charitable view of where Steinway is today. I find their current production reasonably facile to play, it has good clarity and projection, and if well prepped, one can be quite expressive on it. My take is that Steinway has concentrated on the large concert hall, and on concerto performance, where the piano has to fill the 2000 seat hall and project through and over the orchestra. That has been their strategy, and they have been successful at it, whatever quarrels we may have with some details. And of course other makers have tried to compete in this same venue, hence the convergence on similar design and execution principles. The sad fact is that most pianos are in different venues, and most pianos are far too loud and powerful for a living room (or most of the other locations they live in, like practice rooms). If you "voice down" you end up (often) too muddy. I think there is a lot to learn from the 19th century, which was, after all, the century of the piano composer - most of the standard rep comes from that period. Brahms played a Graf he got from Clara Schumann for much of his life, which can give a sense of proportion. What I am thinking of is the whole picture: amount of energy in versus sound out; ease of making various voices in various registers stand out from one another; degree of difference in timbre versus finger technique (how much "effort" to make a difference). I think there is a whole world of sound and expressiveness out there that earlier pianos had and modern ones don't. This doesn't mean modern ones are bad, it just means that they are limited to a particular spectrum of sound and performance, and the loss is a real shame. Regards, Fred Sturm University of New Mexico fssturm at unm.edu
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