It is certainly possible to play the full classical repertoire on the Stuart piano without significant recourse to its extra design and performance features over those of traditionally designed pianos. Indeed, a majority of pianists will so do when they are playing these pianos for the first time. Therein lies a problem, of course, because they will then judge the results on previous experience and as is undoubtedly clear by now, the Stuart is different and it is not valid in any way to make that comparison.
I have spent two and a half years playing this piano, and I’m still adjusting to different pieces in different ways. I recorded a CD some two years ago, and listening to it now I can recognise the changes and improvements (IMHO) in my playing since that time. I’ve also played a number of other (good) pianos in the meantime, and found that I am not that happy with the outcome. As I’ve said elsewhere in this blog, I have stylistically reverted to the norm, and that is
not a good feeling – not that I have much choice in the matter as I’ve explained.
So if one wants to play conservatively on a Stuart piano and try to get what may be called a ‘traditional’ feel to the repertoire, what are the things you look for and must do?
Firstly, buy another piano.
OK, so I’m kidding. Scrub that one …
Firstly (for real) take note of the resonance and sustain. This will mean a broader conception of the piece in terms of tempo, and certainly pedaling. I’ve found in a concert hall environment I use much less damper pedal than I do playing the same piece in my own home. Remember that what you are hearing close to the piano is not necessarily what the audience hears – particularly in a place with significant reverberation.
Secondly, you must adjust to the increased dynamic range. It doesn’t pay to be heavy handed on these pianos – they require a softer touch overall, but one has to take into account the first point above if you really want to let loose and test people’s auditory pain thresholds to their limits.
Thirdly, you need to listen to the clarity of each note, especially in the high and low ranges. You get a totally different sound than a ‘normal’ piano simply because you can hear each note that much more clearly. Balance between the hands and the individual tonal ranges becomes much more of an issue.
If you take these into account, then you have the basis to do a good job on most styles of music. Note, however, that you are only just scratching the surface of what the piano can do.
Nonetheless, you have to start somewhere, I suppose. I had to