[CAUT] Appropriate Piano for Small Recital Hall

[Laurence Libin]

Yes, I see your points. Still. it's interesting how addicted Americans are 
to 9' s -- like macho SUVs?  Plenty of European recital halls do fine with 
smaller grands, or at least quieter ones than Ds. Tuning aside, how much has 
9' preference to do with inferred prestige or (pardon the pun) 
self-aggrandizement? Maybe European audiences are more sophisticated, or 
more appreciate intimacy? Not a safe generalization, I know, but still . . . 
.

Speaking of coherent sound, it seems to me that performers and listeners 
today tend to like assertive modern pianos precisely because their ovetones 
are intentionally, inescapably incoherent; lighter-strung, lower-tension 
grands with more in-tune partials sound dull to them because they're not 
used to harmonicity. Similarly with high-tension steel strings rather than 
gut on violins.

Laurence


----- Original Message ----- 
From: "Fred Sturm" <fssturm at unm.edu>
To: <caut at ptg.org>
Sent: Wednesday, March 24, 2010 5:13 PM
Subject: Re: [CAUT] Appropriate Piano for Small Recital Hall


> On Mar 24, 2010, at 1:15 PM, Laurence Libin wrote:
>
>> I respectfully disagree. 'Better' is subjective, and to me the bass  of a 
>> D can readily overpower the rest. To my ears, in small rooms a  B often 
>> sounds more balanced. My issue here isn't with the piano but  with how 
>> it's likely to be played in this little hall. In any case  I'd rather 
>> hear a B with the lid fully open than a D with the lid on  half-stick, as 
>> it might have to be for chamber music, especially  vocal accompaniment. 
>> Granted, if the choice here is between the two  existing grands, the 
>> Steinway's likely to serve the music 'better'.
>> Laurence
>
>
> Well, there are several elements to consider. I opt for the 9' in  part 
> because of tuning considerations and what that does to the total  sound of 
> the instrument. A 9' (D for certain, other models I am less  familiar with 
> but they tend to be similar in this respect) will allow  for, and tend to 
> invite, a tuning in which 2:1, 3:1, 4:1, 6:1, 8:1,  12:1, and 16:1 all 
> line up pretty well between A0 and C6, to a lesser  extent (more 
> compromise) up to C7, and with possibilities (more  compromises) to C8. 
> Hence, there is a more coherent sound, and also  the mid to high treble 
> gains from the sympathetic vibration of the  lower strings, giving more 
> sustain and more possibility of retaining  sustain with subtle pedaling.
> I grant that the bass can overpower, but this is true anyway (to a  lesser 
> extent in a larger hall), and is something any pianist needs to  learn to 
> cope with. Any pianist _should_ be able to accompany most any  instrument 
> (guitar is a probable exception) with full stick. Whether  the solo 
> instrumentalist will agree to that is another question, but  that often 
> has more to do with how the soloist perceives the blend of  sound standing 
> right next to the open lid, rather than to the sound in  the hall.
> Regards,
> Fred Sturm
> University of New Mexico
> fssturm at unm.edu
>
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