Monday, March 31. 2008
First Impressions (continued) ... ... Posted by Dr Christopher Moore
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11:13
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It is a truism in music in general that the better the instrument, the better you play. Actually that’s not quite correct … the better the instrument, the better you are allowed to play. Quite often the instrument is the limiting factor – it is rather difficult to play Chopin on a toy piano, to quote a rather extreme example. I’ve played a number of instruments during my life, and each time I’ve upgraded the instrument I’ve been able to play better. But, as in everything, there is a downside.
The Stuart piano, let me assure everyone, is not a toy. It has a responsiveness, tone, clarity and resonance to match and, in my and many other people’s views, exceed any piano currently on the market. But many people who have played the instrument are intimidated by it. One of my students when she first sat down in front of it was scared even to touch it. I quickly assured her that, being built mainly of wood, the piano was in fact peaceful and vegetarian and not in the least aggressive and carnivorous, and therefore her fingers were indeed quite safe from premature amputation. Why intimidated? The reason in the main is quite understandable. The piano is so good, so clear, so responsive etc etc that it amplifies everything I do wrong. I can record a piece on my (now rather old) upright piano and within the limits of the tone and action I can be happy with the outcome. I play the same piece on the Stuart, and the recording sounds uneven and lumpy. It’s not the piano, it’s me, full stop. I’m not nearly good enough on this instrument, yet … Thursday, March 27. 2008
First Impressions (continued) ... ... Posted by Dr Christopher Moore
at
11:13
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Pianos, of course, come in many shapes, sizes and colours - upright or grand, miniscule to humungous, white and black and all shades in between. One of the worst I've seen was a bright blue upright - fortunately the sound was just as bad as the colour.
Traditionally, most grand pianos that one sees are black. This, I suspect, has more to do with the quality of the timber used than it does the aesthetic quality of the piano. The problem with that, of course, is how do manufacturers then tell the discerning concert goer that its one of 'our' pianos rather than 'their' pianos that the unfortunate pianist is doing his or her damndest to coax some musical sounds out of. Simple, really, when one thinks about it. You simply write your company's name in big, bold letters on the side of the piano so that it distracts everyone from looking at the performer. In my view, such a thing is a distinctly black (pun intended) mark. Giving the Stuart piano an 'Australian' look and feel is an integral part of the design philosophy. For example, the words 'Terra Australis' are clearly imprinted on the frame. The use of rare and exotic Australian hardwoods allows a unique opportunity to provide a stunning visual appeal to the entire instrument. Black (although available if required as a special order) is not on the a la carte menu. Of course, some people don't like this. They prefer a traditional, conservative approach to the visual aspects of the piano. To me, that immediately rings some very loud alarm bells, since they are then more likely to prefer a traditional, conservative approach to playing the piano as well, and as I have made clear elsewhere in this blog that is not the way these instruments can and should be played. My piano is finished in Tasmanian huon pine, estimated to be up to 2000 years old. The detail and symmetry of the veneer is quite astonishing and I cannot fault the finish in any way. Wayne has recently started using Tasmanian black heart sassafras, which is equally as stunning in its visual appeal. Everyone who sees my piano for the first time is stunned. Come to think of it, they’re still stunned the second time as well … Friday, March 14. 2008
Why the Stuart & Sons piano? ... Posted by Dr Christopher Moore
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19:28
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I’m continually amazed by the amount of useless and irrelevant information about the Stuart pianos on the web. As an owner of one I have always tried (and this blog is no exception) to identify and counteract some of the crap I see. Typical of such comments is the following from a piano forum in the UK.
“The Stuart piano is very expensive and having played one I think they are overrated. I would buy a Bluthner and save your money.” Whilst the writer of this piece of nonsense is entitled to his view (as indeed I have mine) it does demonstrate very clearly a total lack of understanding of why these pianos were built in the first place and the sort of person who would shell out a lot of money for one. To be perfectly honest, in my case, money was never a consideration. I wanted the best, and I got it. Additionally, I knew that it would take me quite a while to adapt to the piano and start to play it in the way in which it was intended. Even now, after some two and a half years, Wayne and I are still “exploring the possibilities”. Owning one of these is a long term commitment. Let me make one thing very, very, very clear. You don’t play a Stuart piano like a ‘normal’ piano, because it is not a ‘normal’ piano. Take for example this email exchange I had with someone who was interested in the Stuart piano and wanted some advice __________________________ > I'm still looking around at pianos, unsure which way > to go, although I did love the Bosendorfer sound - a recent friend > showed me his two Austria-imports of rebuilt 100yr old instruments. Good (no offence meant!) for playing 100 year old music in a 100 year old way.... ___________________________ To help others to understand the ethos of both the builder and the people who are his customers, I’m quoting part of a missive from Wayne which is very instructive and revealing (the emphases are mine). “The challenge to all new comers to the old piano game is how to get the message and product through this maze. The golden rule is, do not do what everyone else does! By selling these bespoke pianos directly to the public, Stuart & Sons are also able to provide the dedicated and special service that purchasers of bespoke products should rightfully command and not to be subjected to the expediency of the commercial imperative. No Stuart & Sons pianos have been discounted for a sale and this will not happen. The three instruments that have changed hands since the company commenced were all on-sold for more than their original price. What one must consider is that Stuart & Sons will not lower their price to shift product or do special deals that effectively spit in the eye of their sincere and loyal customers. It is worth mentioning that the profiles of the people who have purchased Stuart & Sons pianos have similar characteristics. All have been well educated, successful in their chosen life path both financially and personally, have sought individuality in their surroundings and belongings. They usually form the cutting edge and the Stuart & Sons piano is, in effect, a synthesis of that mind and ethos. The ho hum of the musty old piano world, the intrigue of the boring lineage of players and incestuous relationships within the microcosm of the arts community are not for these individuals. They seek light and enlightenment; this is not rhetoric but reality. Often, they play at an amateur level or purchase for young student study. It is contemporary relevance and vitality they seek as any old standard piano can be had at the local shop for whatever the going discounted price! This should give the readers a firm grasp on where Stuart & Sons wish to be in the modern world. I have no illusions or pretensions about the snobbery and elitism of the arts world. I seek to explore the possibilities and I want to be with like minded people who wish to explore and live now in our time and not that of our forebears”. Further comments down the track. Monday, March 10. 2008
First Impressions - Imposing, ... Posted by Dr Christopher Moore
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08:57
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The Stuart piano is an imposing, intimidating, challenging but ultimately extraordinarily rewarding instrument.
Imposing: The physical appearance of the piano is of the highest order. An American owner of a Stuart concert grand piano has stated that it’s the best finished piano he has ever seen. Everyone who has seen my piano is bowled over by the sheer artistry put into the physical appearance of the instrument. The detail and the symmetry of the veneer are absolutely perfect. My piano is finished in 2000 year old Tasmanian huon pine, which is very rare and difficult to get, and consequently somewhat expensive. Never was the Millignan phrase “you can’t get the wood, you know” truer in real life. Every Stuart piano is unique – no two pianos look the same. Intimidating: I’ll make no bones about it – this piano is intimidating, and this is a view that many people have shared with me. The reason is very simple. This piano is of such a high quality and is so responsive and reactive to the fingers that it accentuates everything that I do wrong. There is also the small matter of four pedals rather than three (more of that later) and the fact that the 97 notes mean that the ends of the keyboard are not where you are used to, which can be a difficulty for some people. The piano also has an extraordinary resonance and sustain. But, don’t worry, all is not lost … Challenging: … because the challenge is to adapt to a totally new way of playing the piano and taking advantage of what it offers. This piano is not for the faint of heart nor for those who are so stuck in their ways that they don’t want to change or progress. The Stuart piano offers an unparalleled adventure in the art of making music, and you don’t (because I’m not!) need to be a concert-quality pianist to take part and succeed in this adventure. And ultimately… Rewarding: … once you succeed in this challenge, you will never, and I do mean never, go back. This piano offers the rewards of a complete reinterpretation of the entire keyboard repertoire, from Attaingnent to Tan Dun, from Byrd to Crumb. What you can achieve from a traditional viewpoint is little short of heresy, but from a musical viewpoint is cathartic and mind blowing. All of these points will be expanded upon at length in future postings Saturday, March 8. 2008Why the Stuart & Sons piano?
I’ve been playing the piano ever since I was very young, which quite frankly given my current time of life is more years than I care to remember. I also play the organ (pipe organ of course, with pedals…) and have spent many years training and conducting, as well as accompanying, choirs of various sizes and persuasions.
Some two and a half years ago I decided to buy a new piano. My old piano (which I still have) was made by Beale (although it's not called by that name) and after many years use and abuse by me and my students was beginning to show distinct signs of being world weary. So I started a fairly comprehensive and time-consuming hunt to find a piano that I could play for how many more years the good Lord would allow me to add to the overall global level of noise pollution. My first port of call was to examine various upright pianos ranging from mass produced Asian clones through to some German (ie more expensive) models. None really appealed to either my fingers or my hearing. So I started to look at grand pianos. By far the majority available in Sydney were of the baby grand variety, once again of various degrees of quality, price and sound. The most expensive one I looked at (a German model whose brand I shall not disclose) had the worst damper pedal I have ever seen (or felt, actually) with a ridiculously short travel which made any sort of sensitivity virtually impossible – it was either on or off, nothing in between. Even the ‘recognised’ brand names, both Asian and European, did not appeal. In addition, I was not convinced in any way that any of these pianos represented a good investment in the sense of lasting value, both monetarily and musically. I had, of course, some familiarity with the work of Wayne Stuart in Newcastle and the publicity that his pianos had garnered in a world where tradition remains paramount (although for what reason I have no idea) was intriguing. Not that I ever intended to acquire one, mind you – such things were, I thought, right out of my league. So I contacted Wayne and arranged to travel to Newcastle to poke my nose in and see what all the fuss was about. Wayne was (and still is!) very friendly and accommodating to a total stranger and we spent some time going through the factory and all the various bits and pieces that go together to make, as has been described to me by other perhaps more Philistinian people, a large heavy piece of wood with strings and a keyboard attached. After all, who needs a piano like that when one can buy an electronic keyboard that actually plays for you? So we then sat down at the piano and I started to play. Wayne immediately stopped me, and pointed out quickly some of the ways I could better use the piano’s capabilities and characteristics, and I started the piece again. The difference was quite incredible and after a short time I began to realise that if I was going to get any piano, I was going to get that one. I was able to get very quickly a tone and feel which I just couldn’t get from any other piano I’d played up to that point in time – and I include Yamaha, Kawai, Bechstein and (yes) Steinway in that assessment. Well, to make a long story infinitesimally shorter, after much deliberation, negotiation and financial manipulation, that piano was delivered in December 2005. Wayne tuned it at the factory, and then carefully sewed it up in felt (he doesn’t trust piano removalists!). It was then loaded onto a truck and driven down the F3 freeway (rather bumpy in parts) to my humble abode. Whereupon it came off the truck (carefully…) and was manipulated into my music room, defelted (it took half an hour to get the bloody stuff off, Wayne should have been a tailor) and assembled in its new home. When I finally sat down to play my new acquisition, it was perfectly in tune. Not bad going actually (Wayne tells me he’s sent pianos overseas with the same result). Next time, first impressions…. |
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