Have you ever been frustrated by the fact that you can take a difficult passage, work on it for a bit, get it sounding pretty good, but return to the practice room the next day to discover that you’re back at square 1? That nothing has really changed? And despite how good it sounded yesterday, now it sounds just as bad as it did before you worked on it?
Most of us can live with “two steps forward, one step back.” It’s the “two steps forward, two steps back” that makes us want to tear our hair out.
So what are we to do? Are we just supposed to keep at it and learn how to be more patient? Or is there a different way to practice that can make these improvements more permanent?
A piano is not just a musical instrument but also a piece of furniture that becomes the focal point of the room.
A piano hits all the right notes in the homes of those who have musicality in mind. But, being a proficient piano player isn’t a prerequisite to having a music room, which can bring a note of sophistication to your house.
Not only can a piano be a key furnishing, it also becomes the focal point of the room in which it is placed, says Robert Berger, spokesman for Steinway & Sons in New York City.
My sister just added a beautiful black upright piano to her home. It has turned her place into a musical hot spot for family and friends and has me thinking about getting one. But where would I put it, and how do I design a room with it?
A new, revolutionary tool that allows you to learn piano pieces faster, broaden your repertoire knowledge, improve your interpretational skills or to simply immerse yourself in the refined art of classical piano music, has finally arrived!
The AST integrates Piano Street’s sheet music library with the leading video and music streaming services YouTube, Spotify and Naxos and allows you to listen to recordings of pieces while following along in the scores. The recordings are carefully selected by the Piano Street Team to ensure that the performances are of professional reference standard and provide a diversified selection in terms of interpretational styles.
Celebrating its 160-year anniversary on March 5, Steinway & Sons, the classic piano with a grand sound, has added an incredible visual pop to its design: It partnered with an artist by the name of Lynx to paint abstract art on the keyboard lid, piano lid, music desk and even the case of some of its grand pianos. But Steinway’s art case pianos have been around since 1857, when they first began producing the special pianos with artists of the day.
With the conservative approach, the restorer places a high priority on preserving as much of the original instrument as possible.
With the modern approach, the restorer attempts to make the piano only as good as it was when new, closely maintaining the original design.
With the innovative approach, the restorer not only replaces worn parts with new, but also feels free to modify the design of the instrument in any way that, in the restorer’s judgment, would make it perform better — even in ways the manufacturer never contemplated and might not approve of.
In this article, several well-respected piano restorers, each approximately representing one of the above positions, explain their approaches to restoration in general and, specifically, how they might be applied to various eras of Steinway grands.
An appreciation of style and grace fuels Kris Bezuidenhout’s long-held passion for Mozart, writes Steve Dow.
Kris Bezuidenhout is in the process of recording Mozart’s entire works. Photo: Marco Del Grande
Bezuidenhout will play, as he often does, on fortepianos similar to those Mozart played and composed on. A fortepiano is the early version of a piano, lighter in both construction and sound. But the instrument has been neglected in recent recordings of the classical repertoire.
Bezuidenhout, 32, who also plays piano and harpsichord, is changing that situation by using fortepiano in his planned recording of nine volumes covering all of Mozart’s solo keyboard music, at the rate of two volumes a year.