Fred,
Well then... between you and Don that shoots down my soundboard rant. (Didn't think I'd get away with it, but just hoping <G>)
You're right about the real issue here; maintenance. That's where I need to go with this. String fatigue, hammer wear and general wear/regulation issues seem to be the route to go. We truly DON'T have the time to maintain these as concert instruments AND practice pianos!
Regards,
Jim
From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Fred Sturm
Sent: Thursday, December 03, 2009 2:18 PM
To: caut at ptg.org
Subject: Re: [CAUT] Practicing on concert instruments...again...
On Dec 3, 2009, at 1:28 PM, Jim Busby wrote:
Would you agree or disagree with the following statements; (Or re-word, etc.)
1. Unlike a violin (his main instrument) pianos do not get "better" the more they are played, but due to string fatigue and soundboard movement, etc., a concert hall instrument is limited in years it will remain in optimal condition. (I didn't mention that hammers/strings may be replaced, etc. I'm talking about mainly about soundboard deterioration)
2. The more such an instrument is played the quicker this "optimal condition" will deteriorate.
3. Most concert hall pianos are good for about 12 years.
I have no opinion about the effect of "over-use" on the board. I can't say I've noticed it. The low use pianos I service in a couple big halls - a few concerts a year, sit unused most of the time - seem about the same at the same age as the high use pianos in our recital hall. I know Bolduc and the Steinway basement guys would agree with #3, but that isn't my experience. I see a lot older pianos with original boards that are quite lovely. They are probably worried mostly about power for a concerto instrument, but that is a horse of a different color. Something I don't have enough experience with to have an opinion. But it probably doesn't apply to you very much, either.
Where I see issues with allowing excess practice is in the action assembly. Voicing lasts only so many hours before it needs to be touched up, so many more before it needs to be thoroughly redone. Hammer tails glaze, knuckles compress and glaze, key bushings compress, etc., etc., and the instrument from the point of view of the performer deteriorates dramatically. In the realities of a busy university concert hall, there isn't enough time to do more than touch up stuff during the school year. If you add more usage, you deteriorate faster and make less time available in the hall for the tech to try to keep up with it, assuming the tech has enough time to spare from other work. So if you want the piano in the best shape it can be given realities of time and money, you should limit its use.
That is also why we have a policy that the newer of two concert grands is reserved for faculty, guest artists, and piano majors. Actually, though the other instrument is older, they are quite comparable. But the tendency is for everyone to play the "better" one given a chance, and the newer one must be better. Hence, all the use gets focused on one piano, and it goes to pot. Spreading the usage keeps both in better shape, and makes it possible to get by with an annual major run through in the summer, and touch up during the year, for both.
Regards,
Fred Sturm
University of New Mexico
fssturm at unm.edu<mailto:fssturm at unm.edu>
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