My impression is that the finest harpsichords and fortepianos need a personal owner/protector, who uses them regularly, understands what the instrument is meant to do, and makes sure regulation is up-to-date.
(I can tell a very sad story of a fine, historic replica French double which was ruined by institutional treatment. A Zuckerbox and Challis harpsichords were tough enough to hang in there in the situation.)
A less-than-ultimate instrument may make a better stable horse, capable of surviving without a personal advocate.
Perhaps someone with more experience than me can comment on this relative to fortepianos. It seems to me pointless to buy a fine and delicate instrument if no one is there to understand and use it fully.
Ed Sutton
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On Fri, Aug 27, 2010 at 11:57 AM, Ed Foote <a440a at aol.com> wrote:
Greetings,
The school is considering acquiring a new fortepiano or a pianoforte. The first question is which era, as they are not homogenized like pianos. Another question is style of action, and yet another question is durability, I don't want to get a prima donna instrument that gets weird every time it is moved.
I also don't want to re-invent the wheel, so was hoping that other Cauts that deal with the 18th century in an academic environment would offer a suggestion or two.
Thanks,
Ed Foote RPT
http://www.uk-piano.org/edfoote/index.html
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