Your point being what? Even if that were true, it simply clarifies why you cannot deal with the reactions of a modern grand.
Why always about me?? The article doesn't mention me at all! Please stay OT!
And it isn't true. When Beethoven stretched the pianos of their time to their limits of FF, the reactions against the key bed would be very large. Comparable to thin air? Hardly. A light action can make it all the more difficult to get a big sound without hitting the key bed hard and receiving a big reaction.
Au contraire, actually kedbedding was de riguer in Hummel's time. I discovered that for myself on one of my instruments but here's Hummel:
2. Piano-fortes, generally speaking, are constructed on two different plans, the German or Vienna, as it is termed, and the English; the former is played upon with great facility as to touch, the latter with considerably less ease. Other modes of construction are compounded of these two, or are merely partial variations upon one or other of them.
3. It canot be denied but that each of these mechanisms has its peculiar advantages. The German piano may be played upon with ease by the weakest hand. It allows the performer to impart to his execution every possible degree of light and shade, speaks clearly and promptly, has a round fluty tone, which in a large room contrasts well with the accompanying orchestra, and does not impede rapidity of execution by requiring too great an effect. (It is self evident that we speak here only of the instruments of the most celebrated Vienna and German makers.) These instruments are likewise durable, and cost but half the price of the English piano-forte.
4. To the English construction however, we must not refuse the praises due on the score of its durability and fullness of tone. Nevertheless this instrument does not admit of the same facility of execution as the German ; the touch is much heavier, the keys sink much deeper, and, consequently, the return of the hammer upon the repetition of a note, cannot take place so quickly.
Whoever is yet accustomed to these instruments, should not by any means allow himself to be discomposed by the deep descent of the keys, nor by the heaviness of the touch ; only let him not hurry himself in the time, and let him play all quick passages and runs with the usual lightness of finger ; even passages which require to be executed with strength, must, as in German instruments, be produced by the power of the fingers, and not by the weight of the arms ; for as this mechanism is not capable of such numerous modifications as to degree of tone as ours, we gain no louder sound by a heavy blow, than may be produced by the natural strength and elasticity of the fingers.
In the first moment, we are sensible of something unpleasant, because in forte passages in particular, on our German instruments, we press the keys quite down, while here, they must be only touched superficially, as otherwise we could not succeed in executing such runs without excessive effort and double difficulty. As a counterpoise to this, however, through the fullness of tone of the English piano-forte, the melody receives a peculiar charm and harmonious sweetness.
In the mean time, I have observed that, powerfully as these instruments sound in a chamber, they change the nature of their tone in spacious localities ; and that they are less distinguishable than ours, when associated with complicated orchestral accompaniments ; this, in my opinion, is to be attributed to the thickness and fullness of their tone.
(quoted in Colt, C. F. The Early Piano. Stainer & Bell, London. 1981)