Well people, thank you so far for the nice comments.
I tested my Steingräber and Sons against the upright Steinway, quite a difference. Steingräber felt much more like a grand (it has the price of a grand to) compared to the Steinway, which costs twice as much. Liszt owned a Steingräber in Weimar.
Sad, now that it becomes time for her (the piano) to begin showing what she can in terms of colours, dynamics, the operator let's down, and yes, that hurts even more.
I tried this afternoon with the Waldstein, part of it, pretty good and the op 30 nr 1, part, but my back was like mushed potatoes after watching a doc on Bach before. Too much.
But I'm glad I haven't lost it. It could play in my advantage as I used to rush things, now I have to slow down.
So, even the saddest stories people have their own world of nice things to discover.
I must try one day the idea of a chair, stool, with cushen. Gould, Lupu played on chairs so...
And perhaps it is time to discover harmonics, which, together with theory I never had in academy.
How, that is another story. I have a book on Harmonics at the piano. Too tiring. We'll see.
And if everything fails, there is always mathematics which I adore, and music and maths are married so to say.
Perhaps I'll here from you again, but for now it is goodbye.
Oh, I replied on the YuYu conversation. If someone is interested.