Concert Grands

[Hornspieler]

I am not a pianist. I tried once or twice but found that finger dexterity was beyond me (I even had trouble with fast passages with the three valves on a French Horn)

So I was watching The Pasadena Roof Orchestra recently and noticed that the pianist was hamering out the tunes on the Cadogan Hall's Steinway. It would appear that this is the preferred choice for concert work, but are some better than others? Would a top quality Bluthner be a better option than a "friday afternoon" Steinway?

I seem to remember that one distinguished concert pianist used to take his own Bluthner to Concerts. (Peter Katin?)

What about Bechstein and Broadwood? And if Yamaha make a Concert Grand, could they rival those famous names at a considerably lower price?

With orchestral instruments, the maker's name is no more than a guide. Stradivarius, Guarnieri, Gaglianno, Amati - is the best of one maker's better than the worst of another's?

Over to the pianists, to keep us both informed and amused by their experiences (during this live concerts drought).

HS

[Thropplenoggin]

Interesting thread, H.

I know that Richter favoured Yamahas in later life and Gulda was a Bösendorfer man.

[MrGongGong]

I don't think many are keen on Bechstien
I'm also not a great pianist but did have a bash on a Fazioli which was rather good......


(aaah yes but what is more important surely is Paxman or Alex ? )

[Richard Tarleton]

Interesting how many jazz and popular musicians go for Bösendorfers - Oscar Peterson, Keith Jarrett, Nina Simone, Tori Amos....I can't help wondering (probably a totally unworthy thought) how much of this is affectation.

We saw Andras Schiff playing his own Bösendorfer in St David's Hall - the piano shifters got their own round of applause. Some of the Jorge Bolet Decca discs have an image of him seated at his Bechstein.

[VodkaDilc]

There is a lot to say on this topic, but the old Steinway advert, showing 95% (or thereabouts) of great pianists playing Steinways and 5% the rest, seems to sum up the situation. There are those, like Bolet and Schiff, with other preferences, but they are a minority and even Schiff more often plays a Steinway these days. If there is a such a things as a "Friday afternoon Steinway", it would be quickly spotted and rejected by their technicians.

The support service operated by Steinway is also top-notch. Occasionally we read of pianos (Fazioli, Bösendorfer, etc) which might challenge Steinway's supremacy, but they have made no real dent.

NB I have no connection with Steinways, other than being an enthusiastic listener and the owner of one.

[rauschwerk]

I so rarely get the chance to play a well maintained concert piano that I'm happy with any make! Not so keen on the Yamaha sound, but I once played one that was a sheer delight.

[hedgehog]

And if Yamaha made a Concert Grand, could they rival those famous names at a considerably lower price?

HS

Yamaha made their first Concert Grand in 1967.

[salymap]

I think the BBC had a contract with Steinway as rthey were always in the studio and Maida Vale concerts I attended years ago.
I remember the hoo-ha when one or two pianists brought their own preferred pianos and the business of arranging the platform and so on. Too long ago to remember who brought what though.

[VodkaDilc]

Yamaha made their first Concert Grand in 1967.

.......and they have quite a following in the 'popular music' field. I know that some concert pianists are quite impressed by them, but I believe that they soon show their age and lose their quality. A twenty year old Yamaha often sounds worn out.

[Thropplenoggin]

.......and they have quite a following in the 'popular music' field. I know that some concert pianists are quite impressed by them, but I believe that they soon show their age and lose their quality. A twenty year old Yamaha often sounds worn out.

I suspect even a one-day old Yamaha would sound worn out it if Gilels had been playing the 'Appassionata' on it

[Tony Halstead]

if Yamaha made a Concert Grand, could they rival those famous names at a considerably lower price?

Apparently Yamaha has indeed been making Concert Grands for many years.
Murray Perahia is quoted as saying that the best Yamahas never leave Japan, though..!

[Eine Alpensinfonie]

Steinways for me (I have one) but even that prestigious company has been gallant enough to praise the superb Fazioli.
Bluthners I find deteriorate, the high in pitch you go. I like Bechsteins, but piano tuners tend not to. Bosendorfer? I would love to play on one of their 96 key instruments - then I could play Dohnanyi's Rhapsody no. 3 in C without hitting the wood.

[Hornspieler]

......


(aaah yes but what is more important surely is Paxman or Alex ? )

There are three criteria:

a) Do you like the sound? if so,

b) Is it easy to play? then:

c) Is it well made?

The make is unimportant. I started professionally with a Boosey & Hawkes "Imperial" double F/B flat; went on to an Alexander F/B flat compensator; then bought a Herbert Fritz Knopf 5-valve F/B flat/switchable to C alto compensator; which was the instrument on which I did all my best solo work and which I was a fool to part with in favour of a lightweight Alexander B flat/A (as played by Dennis Brain and Alan Civil).

Some Principal horns insist (wrongly in my view) that every member of the section play on identical instruments - but some are better in the higher registers and some easier to play in the lower depths of the horn's compass. It's a question of "horses for courses"

Anyway, back to pianos:

HS

[vinteuil]

... all this is predicated on a Whig view of history - that things necessarily "improve" - and that a modern Steinway is somehow "better" than a 1920 Bechstein - a 1900 Erard - an 1870 Pleyel - an 1830 Brodmann - an 1805 Graf - a 1790 Streicher...

And this a Radio Three Board !

Lamentable!!!!

[Richard Tarleton]

This from here

His instruments. Arturo Benedetti Michelangeli was also famous for the almost maniacal degree of perfection he required of his instrument during a concert.

His Steinway piano preceded him everywhere he went, so it could get acclimatized, by truck, by airplane, covered by material or wool, and his favourite tuner, Cesare Augusto Tallone, followed him for years too.

Once, in Japan, he cancelled a concert for which he had already been engaged, because his piano had suffered too much from the long trip to that country. The Japanese reacted in a sharp way, sequestrating his passport for a while, and fining him a considerable amount. Arturo Benedetti Michelangeli took offense, and did not hold concerts in Japan any more.

When his piano could not follow him, Arturo Benedetti Michelangeli addressed the upmost attention to the choice of the instrument where he had to play, however.

I seem to remember reading that on one occasion his piano was dropped onto a dockside whilst being unshipped.