Steinway M

[David Andersen]

on 9/8/03 7:53 AM, Richard Brekne at Richard.Brekne@grieg.uib.no wrote:

> I see no connection in condemning others methods, means, and ways as an
> attempt
> to remove any obstacles towards achieving artistic goals. Achieving such goals
> on a "consistant basis" is a rather dubious concept at best. What are these <<
> goals >> to begin with... and who says this set of goals is any better then
> another ?? 
Let's remember that, at the core, we serve the artist and the serious
player, and the serious listener. And, of course, our own ears and artistic
sensibilities.  I ALWAYS let my ear, and the ear of the client, be the final
arbiter.  Making blanket condemnations of anything:  compression-crowned
boards, rib-crowned boards, 50-year-old boards, American Steinway hammers,
parts from certain makers, etc. etc., without HEARING and FEELING the parts
or piano in question is a fool's errand, IMO.

I took the time and trouble recently to hear a redesigned, re-engineered
Steinway, new board, bridges, action, everything, done by one of the
acknowledged leading lights of our industry.  Frankly, and disturbingly, I
couldn't tell about the efficacy of the back end, because the action felt
terrible, the hammers sounded bad, and the tuning and voicing were
substandard. The people who produced this piano have dismissed out of hand
any piano with a compression-crowned board, certainly any piano with a CC
board older than 50 years.  Yet in my practice, in California, I maintain
literally dozens of elder Steinways and Mason & Hamlins, most with original
boards, some 100 or more years old.  Many of these instruments are used in
performance and recording situations, and sound incredible.  Are my ears
deceiving me? Are the artists' ears deceiving them?

I think not.  A singing piano is just that.  Sustain is sustain.
I work on many, many new Boseys, Yamahas, and Mason & Hamlins.
I know what good piano Spielart  is....and a well-restored elder instrument
that's been in a Mediterranean environment can be the equal or superior of a
new instrument...with the original board.  BUT....there's a very famous
technician and rebuilder here in LA who condemns these elder pianos unseen
and unheard because:
--the boards are older than 50 years.
--they're compression-crowned.

To me, that's arrogance and dogma personified, although I have tremendous
respect and admiration for this individual's skills.

> And how does any of this justify the condemnation of one or
> another
> particular artistic endeavour as less worthy then another ??
It doesn't.
> 
> I welcome those who would explore new knowledge, and find new ways of doing
> things, creating new sounds, enlargening the artistic palette as it were... I
> do not welcome those who in the same breath find it neccessary degrade others
for doing things differently.
Well said, Richard.

David Andersen