How many times each of us, leaving a concert hall, he heard from the spectators surrurare phrases like, “… it had that wonderful touch of pianist …” or “… very good pianist, too bad he has that sound hard and edgy …” or “… he played so flat, there were no pianissimo …” and paused to reflect on whether indeed certain qualities or defects were directly related to the potential effect of the interpreter?
There is no doubt that there are good and some not so good pianists, but I am posting from the line of thought that a good pianist manages to bring out a warm sound and round (to use two of the adjectives most in vogue), even from a piano low profile.
This little prologue to introduce the discussion on a concept that is rarely dealt with in studies of music which plays a key role to provide the interpreter the opportunity to fully express his musical ideas and intentions.
The pitch is the basis of good performance, since it is through this complex and delicate operation on the hammers that are unable to obtain a homogeneous timbre keyboard, the facilities and a large dynamic warm sound and elastic. It ‘important for a pianist studying musically in order to acquire a good technique, but it is virtually impossible to do so if the pitch is missing and then we will be forced to have to close or lower the lid of the piano to perform chamber music and having to use more than necessary the soft pedal to perform fast passages and delicate.
So the advice I would offer to the pianists is to look for their own trusted technician who knows how to do this (hair and punching) in order to study piano with no sounds of sharp and bitter, you have total control instrument and be able to fully open the lid of your piano without fear of sounding too loud.
I leave to you the reader to imagine the consequences of a little piano tune in a public concert!
(Adolfo Capitelli, 1 August 2012)