Originally posted by Ein Heldenleben
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The Eternal Breakfast Debate in a New Place
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Last edited by ahinton; 10-12-22, 12:20.
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Originally posted by ahinton View PostShame upon him, especially given what a gifted musician he was! Actually, though, it'sat least as much a matter of how the presence of those bass strings impact upon the sounds that the instrument can produce as it is of those bass notes themselves. It's a matter of personal taste, obviously but, to my ears, the best Bösendorfer 290 seems a very hard act to follow - and it's the way in which its very topmost notes can resonate and carry even at relatively low dynamic levels that is one of its plus points...
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Originally posted by Eine Alpensinfonie View Post
This offers an interesting comparison between some renowned modern grand models:
Synchron Stage Vienna invited Stefan Mendl, highly acclaimed pianist and founding member of the Vienna Piano Trio, to play and explore three of the most famo...
Last edited by Bryn; 10-12-22, 11:11.
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Originally posted by Bryn View PostInteresting. The Imperials I have encountered have has a separate cover (lid) for the additional low keys Certainly, that at The Warehouse, Waterloo, does. I think that I recall at Conway Hall did (does?) too.
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Originally posted by ahinton View PostThey have one there? I didn't know that! There wasn't one there - but I really do wish that there had been! - when Jonathan Powell premièred my Sequentia Claviensis there way back when, because it uses the G# immediately below the usual lowest A on several occasions and he had to fake these! Jonathan is well accustomed to the Bösendorfer 290 because he used one for all of his recordings of Sorabji's piano works for the Altarus label.
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I wish - O how I wish! - that presenters of playlist programmes in particular, in their anouncements - and not just in back-announcements - of pieces that are just one movement of a longer work would say so!
I am resigned <sigh emoji> to the playing of what we used, in more outraged days, to call 'bleeding chunks'. But at least admit it, no matter what else is said about the work: e.g. Here is its slow movement; or It ends with this dazzling finale....
I'm wondering whether the habit of not admitting immediately that it's only a bit of the whole, longer, work originates with some ukase from the suits.
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Yes, it goes along with the popification of Radio 3: 'On the show today... here's a track from her latest album...she's won an indecent number of awards...' etc. And of course, shouting over the applause at the Lunchtime concert ' an incredibly exciting performance there...' whenall we want is the facts, friendly and accurate. Tom Crowe and Patricia Hughes managed to do that with little difficulty.
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Originally posted by smittims View PostYes, it goes along with the popification of Radio 3: 'On the show today... here's a track from her latest album...she's won an indecent number of awards...' etc. And of course, shouting over the applause at the Lunchtime concert ' an incredibly exciting performance there...' whenall we want is the facts, friendly and accurate. Tom Crowe and Patricia Hughes managed to do that with little difficulty.
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Originally posted by ahinton View PostThe only Bösendorfers that I've encoutered with such a lid have a range that extends to F below the usual lowest A although there might well be 290s that go down to C that have one - I've just never seen one.
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