VIDEO: Prelude in E-flat Major BWV 852 by J.S. Bach

[thalbergmad]

None of those are live. My music e mail is thalbergmad@googlemail.com.

Thal.

[michael_sayers]

None of those are live. My music e mail is thalbergmad@googlemail.com.

Thal.

Thanks Thal!

p.s. - Thalberg wasn't mad . Well, maybe he was "mad" about not beating Liszt in a particular piano duel, but this isn't the type of "madness" we are talking about!

[michael_sayers]

Hi 8_octaves,

First of all, you are up way too late at night.

Second of all, I'll be waiting for your proof in the other thread that a pianist can not vary the timbre of a grand piano at uniform pitch and level of dynamic.


Mvh,
Michael

Hi 8_octaves,

This is the post - and it is quoted above - and as one can see there is no observation in it upon hammer acceleration . . . none at all . . . and I wish to draw your attention to this so that we can achieve clarity on it in the other thread.


Mvh,
Michael

[8_octaves]

Hi Michael,

the "timbre of a grand piano" is nowhere of interest. Interesting in the other thread is - and was - , that you didn't accept ( or understand ) , that after the point of escapement the tone color CANNOT BE INFLUENCED.

Your mentioning of parts of another topic in this thread here - parts, which never having been of interest or an issue, because the "timbre of a grand piano in general" was never topic at all - are, in my opinion a ) irrelevant HERE, and b ) your real problem, which was, until your retreat now, the not-understanding that tone-color after the escapement IS NOT INFLUENCABLE, has been, I think, already solved in the other thread. So, I will read about that THERE, and not HERE.

Cordially, 8_octaves!

[michael_sayers]

Hi Michael,

the "timbre of a grand piano" is nowhere of interest. Interesting in the other thread is - and was - , that you didn't accept ( or understand ) , that after the point of escapement the tone color CANNOT BE INFLUENCED.

. . . b ) your real problem, which was, until your retreat now, the not-understanding that tone-color after the escapement IS NOT INFLUENCABLE, has been, I think, already solved in the other thread. So, I will read about that THERE, and not HERE.

Cordially, 8_octaves!

Hi 8_octaves,

I have said nothing of the kind which you attribute to me here and in the other thread: neither have I said that following the escapement a pianist can alter the results in timbre, nor have I said that the acceleration can be continued after the escapement.

Debussy, in his writing on how to play his piano music, said no such things either - and neither did Newton, whom I mention here as he was brought into this subject in the other thread . . . and what edition, translation, et c., are you all using as a source for Philosophiae Naturalis Principia Mathematica?

Please reread my posts.


Mvh,
Michael

[8_octaves]

And I, dear michael_sayers, haven't spoken of grand pianos in GENERAL. That's what you wanted me to comment on - but to no avail..

..but..you are wrong in that, too:  Because, also for a grand piano IN GENERAL, the same laws are valid, which are mentioned in the other thread for a single hammer: On a GRAND PIANO IN GENERAL, and for OTHER PIANOS it's valid for the hammers, that the tone color each of them produces when striking the strings, CANNOT BE INFLUENCED after the hammers have passed the point of escapement. For instruments like the clavichord, in contrast, that ISN't valid, because THERE, we can change the tone color to a certain degree.

And now I will continue reading and writing in the other thread, Michael. I hope you won't insist on a discussion HERE, about off-topic-things.

Cordially, 8_octaves!!

[michael_sayers]

On a GRAND PIANO IN GENERAL, and for OTHER PIANOS it's valid for the hammers, that the tone color each of them produces when striking the strings, CANNOT BE INFLUENCED after the hammers have passed the point of escapement

. . .

And now I will continue reading and writing in the other thread, Michael. I hope you won't insist on a discussion HERE, about off-topic-things.

Cordially, 8_octaves!!

Hi 8_octaves,

I just said in the post immediately above yours that I have not said that a pianist can influence the timbre after a hammer has moved beyond escapement, and yet again you behave as though I have said the opposite.  

I think that maybe you all are just playing games with me, in which instance I am not sure I want to continue the discussion of grand piano tone production either here or in the other thread.

I can only repeat what I said in the post immediately above yours a finite number times.  Right now the tally is at six or seven repetitions, or possibly eight or more.  I haven't been keeping count.


Mvh,
Michael

[frodo1]

Hi Everyone,

This interpretation was given to me by Franz Liszt.

Recorded on a N.Y. Steinway D.

Sorry to resurrect this 7 year old thread.  Congratulations to Michael Sayers for generating the 2nd largest number of replies for an audition room thread.  I will contribute by adding one more reply.  This performance of Bach is amusing to me.

[perfect_pitch]

HOLY CRAP... I forgot about this thread. Even more surprisingly - for some reason all of Michael_Sayers posts are being ignored.

I DIDN'T KNOW WE COULD DO THAT!!! How did I managed to ignore the user??? This feature may come in handy.