Sarah wrote: >I suppose I mean "all three" Liszts. I'm thinking particularly of >the limitations Liszt experienced from the slower repetition rates >of earlier actions. I understand he hungered for a faster, more >nimble action, and he considered the modern repetition arm a >godsend. It opened up many more possibilities to him both in >composition and performance. Well actually this is not correct - not at all - although the music history books are full of this sort of story. In 1824 Erard gave Liszt the second piano he had made with double repetition action, so he was well familiar with an action that was considerably more nimble than any modern piano action, from age 13. Erard supplied pianos for many of Liszt's concert appearances throughout Europe. On the other hand Liszt did most of his composing in Weimar on a Boisselot with simple English action, declaring it to be his favourite piano and wearing the ivories through in the decade to 1860. After leaving Weimar, much of his composing was done an an old cottage upright with broken bass D1 key...he never hesitated to play this piano for guests, including first performances of many high intensity compositions of his Rome period (e.g. Jeux d'eaux a la Villa d'Este). There is nothing whatever about Liszt's playing that suggests a modern repetition action was necessary, nor would it have been an improvement for him. In fact I would suggest the opposite experience might have been the case, having played many examples of both types of piano myself. However, he rarely expressed dislike for an instrument so we won't know what he really thought of the modern beast when it surfaced in 1870 or so. Of course his concert career ended in 1848 long before. >Ah, but in the end, the composer must make the music accommodate the >technical limitations of the instrumentation, whatever they may be. >I don't think I've ever heard of a composer composing for an >instrument yet to be created, although it almost wouldn't surprise >me -- and I'd almost understand. The weirdest thing I ever did was >to write a piece that incorporated a bobbling hammer. Of course it >could only be played on *that* piano! Now this is much more perceptive. I'd suggest replacing the word "limitations" above with "characteristics" - otherwise agree completely. > Well, gotta go! I have a very long day tomorrow, and we'll be up >early to catch the tide. > Have fun and don't fall overboard. Stephen -- Stephen Birkett Fortepianos Authentic Reproductions of 18th and 19th Century Pianos 464 Winchester Drive Waterloo, Ontario Canada N2T 1K5 tel: 519-885-2228 mailto: sbirkett[at]real.uwaterloo.ca http://real.uwaterloo.ca/~sbirkett
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