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@@翁慈玲 thank you ! It is just a simple basic harpsichord, but it works still reasonably well. Kind regards, greetings from The Netherlands, Simon 🎹

@@efebrahim thank you ! It's a great piece by Nina, that's for sure! She totally made it her own, in every way. I have another version here, in my living room, on my channel, which is way more dry (no church reverb ;) I should have made a better version, one day, but well, lots of work to study it again (don't have the notes written down..) Thanks again, kind regards, greetings from The Netherlands, Simon 🎹

@@Eleotojo thank you! It's such a great song! Kind regards, greetings from The Netherlands, Simon 🎹

@@pmpESJA Thank you! It's such a wonderful and fragile, sweet song. And it works amazingly well on acoustic piano also 👍🏻🎹 Kind regards, Greetings from The Netherlands, Simon

@@Thomas-zp8gv dank Thom! Ondanks dat honderden het al erop hebben gezet, hier dan toch ook 'my two cents', zoals dat in de Engelse taal zo treffend wordt uitgedrukt :-) Groet! Simon 🎹☺️

Dankjewel, Eugène ! Al tientallen, zo niet honderden pianisten hebben deze week die ene minuut al geüpload haha, maar goed, desalniettemin 😅🎹

@@MeesW98 dankjewel Mees! 👍🏻 De vele vele nieuwe uploads ziende van dit walsje, merk en hoor je weer hoe ongelofelijk divers dezelfde noten mogelijkerwijs te interpreteren zijn he. Zoveel verschillende opnames! Ook ikzelf kon maar niet kiezen uit m'n diverse takes, dus heb er nu dan maar twee opgezet: niet dat ze nou zoveel verschillen, vrijwel niet haha :-), maar meer om te laten zien hoe flexibel muziek/notenschrift altijd te interpreteren is, zélfs als je bijna niet afwijkt binnen je eigen interpretatie. Hoe vaker ik t walsje speel, hoe meer ik het waardeer trouwens, ondanks de zeer geringe lengte is het toch echt een bijzondere vondst. Groet! Simon 🎹

@@selo4583 thank you! Kind regards, Simon 🎹

@@harryvandijk2911 dankjewel! Moet eigenlijk een nieuwe take maken nog eens, met wat meer rust en controle, in de oktaven met name. Maar goed, het was een spontane take voor een pupil hier thuis! Mooie stukjes van Granados, die hele serie Valses trouwens. Gezellig pianokamertje hè! :-)) (al is de piano een beetje vals op de opname...maar ja, heb er vier hè, lastig bij te houden..) Groetjes van neefje 🎹😘

Thanks for your kind response to this (very, very short) Liszt-excerpt. It's a wonderful piece, of which I still have very nostalgic memories: I still remember vividly playing the Arthur Rubinstein 45single as a little kid...and later on, as a student, I studied the Liebestraum in its entirely. About my responses to Brian King: he is, mainly, a (retired) piano technician, well...at least as far as I understand from our chats here, last week. I did not known his videos nor his channel up until I happened to stumble upon a video of him, somewhere last week, where he explains something about touch vs the mechanics of the piano. His choice of words in that particular video (don't know now by heart which one, it's a rather recent one) on how to and why you have to play with a nice / good touch (translated equivalently to the physics of the mechanics vs the physics of the human body, so to speak), and how your touch interacts with the mechanics in a piano. It was explained, indeed, very good I must say. Also because, being a teacher myself, I know how hard it is to explain something so delicate, mysterious, difficult, and multi-layered as "touch" to your students. So I wondered, just totally aside of his playing in the pianistically / technically way of speaking, if he perhaps was a piano tuner or a piano technician. And that's how the chat between us began, last week. Then I asked him if he would maybe like to listen to my Chopin Scherzo 2 excerpt (uploaded about two months ago, I think, you can find it easily here, on my channel, Scherzo 2, Sostenuto, take one), and he then asked me some questions about how to play this excerpt so smoothly, so even, so fast, fluently etc. as I do, and how I am able to do that. Well, that's (of course) a hell of a difficult question. But, I tried, and I responded back. Which started a very thoughtful conversation in the comments, there under that mentioned Sostenuto /Scherzo upload. I can recommend, (if you are interested, of course! ) to read that, also because it can (maybe?) give you some additional insight in all of this, and his playing. He was always very respectful and polite to me, as I was always also to him, because being a teacher myself I understand his questions very well, and I noticed an authentic and honest interest in the material we discussed there, in that comment. Despite, of course, of me seeing the deficits in his technique. For me, the beauty of TH-cam is that everyone can show himself here as how they want, and with something totally un-harmful as this (read: music) it's not that much of a problem for me, to be honest. There are, on YT way more problematic / harmful ways of how people can express themselves :) Music can be, in that sense, (most of the times), a very peaceful thing. Especially in this specific mentioned examples :) And, as I always say: don't listen to uploads that are not to your taste (because : why would you? :-). For everyone their own likings 🎹🎶☺️ Kind regards, and greetings from The Netherlands, on this very sunny autumn day ! 🍁☀️👌🏻 Simon 🎹

It was already five months ago, I see now 😅, here the mentioned link: th-cam.com/video/dnIgLOMgStw/w-d-xo.htmlsi=lZcsBBBo-KZctfBt Kind regards, Simon 🎹

@@pianoweighttouchbrianking809 thank you Brian! Yes, my Pleyel has a wonderful, bright, sweet, juicy, upper tone-rich sound. The evenness you mentioned is also achieved by really controlling meticulously the half pedals, so that the sounds /chords blend smoothly into each other. Kind regards, Simon 🎹

@@simonvanthoff Incredibly well played Simon. Thank you so much for sharing your talent. All the best to you in the Netherlands from here in Canada. Brian

@@jeremiahmarkusmedia6915 Thank you! And yes, I love to have more than only one instrument. In fact, it's not that much different as with most guitar players who also have so many kinds of guitars at home: because no piano feels or sounds like the other. But because they're so big it's not that convenient and easy to realize this, as it is with guitars (besides also the costs of course :). Luckily many times I always only gravitate towards the cheaper, second hand upright pianos, and I don't mind having to put all my stuff a little bit more close by to each other, and thus having to be a little bit creative on how to make it still all fit and function in my rather small apartment. Kind regards, greetings from The Netherlands! Simon

@@MeesW98 dank Mees! Ja, via TH-cam ontdekt, deze :-) De andere negen stukjes moet ik nog bekijken. En ja, m'n fontein ;) hoor je op de achtergrond: ik speel echt mega-zacht (met de klep, zoals je misschien zag, ter uitzondering deze keer op een klein mini-kiertje, voor wat meer hoorbare boventonen, dus dat maakte deze take best lastig (ik speelde nl zò zacht dat de kans op wegvallen, òf: uitschieten, van een toon heel erg groot was. Nadeel daarvan is dus wel dat je mijn omgevingsgeluiden in mijn nou niet bepaald rustige inrichting nu nog beter als normaal hoort :-) Groetjes! Simon 🎹

@@harryvandijk2911 Helemaal niet erg 😘 Gelukkig, Har en Daan, heb ik >350 andere filmpjes ook nog hier die wel (vaak) in jullie smaak vallen :-)) Liefs, Simon 🎹

@@Thomas-zp8gv dank! En ja, heel dromerig; dat komt ook (zoals je misschien al merkte/hoorde) door het vele en continue gebruik van zgn half pedaal. Groetjes van Simon! 🎹💪🏻

Ja mooi hè? "Ravel voor beginners" zeg ik wel eens :-) zie je mail voor de partituur 😊 Groetjes, Simon 🎹

@@simonvanthoff Wat goed! Ook een leuk stukje voor de leerlingen… Thanks voor de bladmuziek! 🤩

@@thomaszagers Het heeft veel half pedaal nodig, voor het smoothe, dromerige resultaat, maar dat had je wellicht al gehoord. De andere negen stukjes moet ik nog bestuderen overigens. Groet, Simon

@@Cinnabu Thank you for your nice comment! That's by the way just the same as how I did it, back then: I loved the song already a lot, but when I saw others play it, loved some of their licks, so copied here and there some of them. And also: I really wanted to learn to play the original, short, but briljant pianosolo, because if I can remember correctly, nobody plays that short solo in their cover, here on TH-cam. So, that was also a reason to work meticulously on it. Good luck with your upcoming show! And, who knows?, make a recording of it, so that you can have a great new upload yourself? :-) 👍🏻🎹 Kind regards, greetings from The Netherlands, Simon

My cover is coming along nicely! I wrote my own original solo that sounds like it is a part of the original song

@@Cinnabu ah great! Who knows on TH-cam also, soon? 👍🏻💪🏻🎹 And do you also play the original solo, or only yours? Kind regards, Simon

@@tothtamara1651 thank you :) I had to tune it first, but I was pressed for time, so it's a little out of tune :) but on the other hand you now get it with repeats and all, including one played with the mute-register :-) Kind regards, have a good autumn vacation, Simon 🎹

@@josephcoagrove580 thank you! It's such a beautiful song 👌🏻 And it is indeed not that easy to cover, but I think we came rather close to the original because of the great vocals by Marcel Smulders, and I think also because my (already rather "aged" 🫣) Yamaha P200 digital piano has very distinctive and well sounding strings on it (which I always mix to a certain degree (depending on the song) with the digital piano sound). Those two elements (voice + strings) are, I think, the main ingredients which have to "fit", so to speak, to make a cover of this particular song work. Besides that, other elements also have to work correctly, of course, to make it succeed: the intricate bass line (played by our bass player Martie) is just as in the original recording. And the second voice by our female lead singer Wilma is giving our arrangement a nice color and second layer (mostly doubling my right hand soprano string part). Also the super-legato-feel of all the four players, including of course my piano part (which must be played with just the right rhythmic pattern), has to be "locked in just right", to get the desired result, because this song (with Art's angelic vocals) really needs this super-legato approach, otherwise it just won't work. Thanks again for your nice words! 👍🏻 Kind regards, Greetings from The Netherlands, Simon 🎹

@@pfijneman1 ow ja! Klopt haha! Is wel dus uit dezelfde bundel. Komt volgende keer dan wel. Al is deze wel moeilijker dan Only You (althans, in mijn versie, zoals ik hem hier speel..) Zoals hij geschreven staat valt t wel mee (op dat kenmerkende blues-lickje na dan, wat een soepele losse grote hand nodig heeft..) Groet! Simon 🎹

@@pianoweighttouchbrianking809 thank you for your kind words Brian! Yes, I know the Fantasy, but I never played it: it's way way too hard, way too difficult. That counts, by the way, for virtually almost all of Chopin's works: they are so difficult to master. Yes, I play here this one minute passage quite well, but it's only one minute, and the whole ten minutes of that Scherzo are so incredible difficult to play to my satisfaction 🫣🥹. I studied the whole piece very frenetic, when I was a student, and also performed it regularly, but now, being older, with more developed critical ears, its really, réally hard to pull it off again within the limits of my technical capabilities and the satisfaction of my musical ideal. Yes, I know of the Abel hammers. Really great to learn about you being also a piano technician: that indeed really explains why you're so well articulated when it comes to finding the right words for a beautiful touch! But, about replacing the hammers in the Pleyel: yes, I thought about that...and it was also once recommended...still....finding the right, competent, trustworthy technician is really, réally hard. Many, mány tuners and technicians talk a lot, yes, but rarely or never deliver to my high standards, unfortunately. And, besides that, that's even still apart from the finished results I usually get under my hands, in shops and working places through the past these many years, here, in some of the well known shops in cities, here in my small country. But, even if I dare to make that step, still it's quite a step, because also other parts of the mechanics then has to be replaced, I think, or at least: it would be a sensible, advisable thing to do. Which makes it more complex, difficult, time consuming, and expensive, and risky. Plus: besides all that: also the strings are getting older and older, some here and there already have been replaced in the past (and, may I add, many times nòt to my satisfaction!), so, well, if they also have to go, my gosh, that's expensive and even perhaps a greater risk of not getting "my Pleyel sound" back again. And, besides all that, if the stings goes, the dampers also have to be replaced: one of the most difficult parts to really, réally regulate correctly (speaking about the half pedals, for example..) so, well, with all this said in mind, and of course given the financial part, I think, for now, I keep it with fine-regulating the mechanics for what it can still, more or less, deliver, in this state. And keeping my ears and eyes open for a "new love" (that's how I usually call the relation with your piano haha!) one day that really strikes a bell in me, and that is affordable. I am lucky the piano still sounds so beautiful, and plays rather reliable, still, and that I have also three other upright pianos to choose from (see my channel :-) Thanks again so much, Brian, for your great comment! Kind regards, Simon 🎹

@@simonvanthoff Hi Simon, It sounds like you are better to leave well enough alone and just enjoy your piano as it is. I know full well what it is to get part of the action better and leave the rest of it not even and leaving it alone is a good option until you come across an affordable new love of your life replacement for it that you truly believe in your heart is a better instrument! Can you give me some ideas on how I can build up the speed on those broken chords in the Chopin Scherzo in B flat minor that you play so incredibly fast and even and with the correct overall effect. I would just love any tips you can pass on to me. Take good care and all the best, Brian

⁠@@pianoweighttouchbrianking809 yes, thanks Brian, I indeed am now just happy for what the Pleyel still is able to offer. And wait for "the moment" so to speak, to change things. It's very rare to encounter an instrument of your personal liking, is my experience, so, well, it will happen when it's time I think :-) About the speed and eveness and overall musical effect of that middle part: wow you're asking something there haha! Well...what can I say... Ehm, first of all, for me the really hard part is left, not right. I had to play it many, many times before I was able to make a take where the left hand made no mistakes and the right hand was fluid, and not rushing (well, not too much, at least:) So: much of my energy and focus and attention in that wónderful angelic E major passage, is in the left hand, as it may sound surprising, possibly...I almost managed it 100% to my satisfaction, but even with two takes (see my other upload for take two), i could not pull it off completely without rushing. Well, so, one tip is: be exactly clear on which RH eight note falls where and when on which LH quarter note. Espécially on key turning points, like the moment it shifts to the A6 /F#m chord, for example, or to the wonderful moll dur chord at the end of the run. All of this while being super aware of the pristine accurateness of the tiniest move of my right pedal. Because the pedal, the super precise moving /fluttering of it, is very much responsible for highlighting the right moments, and give the run its light and shadow, and not being too wet, or too dry, or too washy, or too thin, or too thick, or too fluffy, or too cacophonic. Then, what you explain so wonderful well in your videos, the wrist is so important: like Chopin said: the wrists are the lungs of the hand. So: I try to avoid all unnecessary tension and stiffness and unneeded strength/push/power and un-flexibility, in my wrist, so that it is totally and complete serviceable for the fingers who must be able to run clear and fast and active and leggiero in that moments. Also, the same counts for my arm, which is maybe even harder to control, than the wrist. So, biceps, triceps, lower arm, and schouders of course, are "hanging" and feeling as free as it possibly is, while playing. Let the gravity fully do its natural function, like Chopin said. Then, maybe also somewhat of an influence: like I say in the description I have the crystal clear recording of Rafael Orozco, the late Spanish virtuoso, in my head, as my absolute ideal. We all, of course, have our own prime examples. I listened to his recoding líterally thousands and thousands of times. So, every time my playing is too far off, too far away of that super pristine mega clear unhuman-like example of that passage that he gave us in his amazing 1975 Philips recording, I stop and correct myself. Like I wrote, I could not (of course haha!) manage to match Orozco's playing, but I remember very vividly, when making this take, that his recording was my standard in my mind: I would not upload mine if I could not come at léast reasonably close by a reminder of an echo of his playing, haha, if I may phrase it like that. Well, I hope some of my words help 🥹 although I also know that's its very hard to give advise in only written form, with the other person not being physically in the room playing it live for you. Still I hope it has in its own way its value! Thanks again, for your very nice words, and I wish you all the best! Kind regards, greetings again from rainy autumn Netherlands, Simon 🎹

@@simonvanthoff Hi 'Simon, Thank you so very much for this vivid description of the diligent effort you have used to achieve a wonderful and beautiful performance of this part of the Scherzo in B flat minor. I really appreciate it and I will start to work from your point of view in my practice of this beautiful part of the piece. I will focus now on the left hand for sure and know then that it must line up perfectly with the right hand. Every note matters and so I must first do slow practice of my left hand evenly and from there after listening more to that beautiful recording you are referring to, take it from there. Your help gives me hope that if I focus on listening more in the going to the marriage of my right hand with my left hand, hopefully I will hear real tangible improvement! I know I will need a lot of help with the pedal as you were describing! Thanks once again and do stay dry and take good care of yourself! Brian

@@pianoweighttouchbrianking809 wow what a beautiful respons, Brian! I wish all my students would listen and respond and articulate like this! And also have this kind of pristine self reflection that is so much needed to develop your own playing, as of course you as a technician/pianist also know so well 👍🏻 In that sense, the art of playing the piano is very comparable to the mechanics of the piano: it's movements and construction is so multi multi layered, and so incredible complex, and also, besides the "basic rules", so much is also dependent on "gift" and "luck" and "how things just are", and júst the right combi and balance and characteristics of all the used materials involved. But, yes, having said that, the awareness of the RH and LH, where they fall together, is I think part of its possible succes of playing it correctly. And also the practice of starting practicing slowly, that is: be able to play it controlled, have control over the shadings and dynamics and phrasing, even, no, espécially when it's a difficult passage. And, like I always say to my students: don't expect miracles, or some wonder-pill :), but on the other hand: be content and grateful for évery micro step in which you can hear that it's getting better or going more controlled or able to be more conscious of all the needed things while playing or sounding more fluent. It's in these small things that the satisfaction and gratefulness is to be found. Thanks again for your wonderful responses, kindest regards, Simon 🎹

@@Thomas-zp8gv graag gedaan! (Al even geleden :) 👀😉😅🎹

@@harryvandijk2911 Wow! Geniet er van! Heerlijk hoor! De laatste seconden van dit korte stukje herkennen jullie misschien van jullie zondag-ceedeetje 🎹☺️👍🏻 Gisteren heb ik vijf (korte) uploads gemaakt, zoals je misschien al zag, want ik heb sinds afgelopen week duizend 'fans' op mijn kanaaltje ! O.a. pupilletje Ruben die nu een jaartje les heeft en het heel goed doet, (zie je de vijf treintjes weer rijden Harry! :-)), een eenvoudig klein klavecimbel-stukje, en een prachtig lied van Gershwin. Hartelijke groetjes van neefje Simon, geniet van jullie vakantie! 😘

@@GidievanBijnen hij doet het heel goed, leuk hoor! 👍🏻🎹 Hartelijke groet van Simon

@@annekevandevelde8181 dankjewel Anneke! Bij mij spelen alle leerlingen vanaf dag één met mij samen, dus dat zit er op gegeven moment "in gebakken" :-) Lieve groet, Simon 😘🎹

@@johnnyTT123 from: the joy of Baroque 👍🏻👌🏻👍🏻🎹

@@crazypianolady thank you! The chords that Nina used are, more or less, the same as in the original song. So, in that sense, it's not that hard to figure out. Ten years ago by the way I also uploaded a version, on my piano, which is filmed a little more close by the keys, maybe that also can help a little tiny bit? Thanks for your nice respons! It's such a gorgeous and beautiful rendition / arrangement by Nina Simone! Kind regards, greetings from The Netherlands, Simon 🎹

@@johannaalvarado983 it is from the booklet "20 studies", it's on my piano also, here is a link where you can see the book: www.broekmans.com/en/bladmuziek/20-studies-in-classical-jazz-and-popular-styles-intermediate-level-169826. This is a Dutch music store. But it's probably also on eBay or Amazon. Kind regards, greetings from The Netherlands, Simon

Thank you! It's such a great McCartney-song. It took some time for me to find the right "groove" but I think it works reasonably well like this, on just a simple piano. Thanks again, kind regards, greetings from The Netherlands, Simon 🎹

Thank you! Such a great McCartney song! To be honest, I struggled for some time to find the right "groove" for how to play the opening-lick, I just could not catch the "feel" of that that great guitar lick, until I suddenly discovered to play it in 'double time' so to speak: to play that distinctive opening-lick in fast paced triads, instead of just eight notes. The song itself is not that hard; I only had to find the right registers, to not sound too monotonous, because (of course) I miss the great character and color and legato feel of the vocal line. But, as soon as I discovered to play that lick in fast paced triads, suddenly my cover (more or less) worked and sounded (more or less) acceptable on solo piano. Thanks again for your kind remark, greetings from The Netherlands, Simon 🎹

@@rafaelduarte5567 good afternoon Rafael, I hope you are fine! Back in your country again, I think? I probably mentioned to you to buy a variety of beginner books, to learn step by step the basics. So, for example, you could buy the beginner series of Schaum, Faber, Hal Leonard, Aaron, The Joy of First Classics (book 1 & 2), Folk Dean, Alfred's Pemier Piano Course, to name just but a few of the possibilities. I will app here, in these comments, another TH-cam link for you, of another channel, in which you can have a visual explanation of these beginner books. All the best, kind regards from The Netherlands, Simon 🎹

@@rafaelduarte5567 Here an example of a channel were they explain some method books, Rafael. As you can see, he also emphasis the difference between the variety of possible books: some are more "modern", others are more "classical" focussed. th-cam.com/video/OyP9rwFswT0/w-d-xo.htmlsi=j7StmYqkk3r4PaZk To add on his link, again: I would also buy the mentioned books "The Joy Of First Classics Book 1 & 2", because these pieces are all original easy compositions by the great classical composers, and as mentioned before, in your case, focus more on buying "classical" methods like Michael Aaron, Faber, Folk Dean (= old fashioned Dutch ;) or Premier Piano Course, and avoid a little bit the more "modern, American, popular orientated" Alfred's for adults: that's also a fine method, don't get me wrong, also with classical pieces in it, but overall they are more "chord-playing-focussed" than the other methods or books I wrote down (like the 2 Joy Of-books I mentioned). Kind regards, Simon 🎹

I have not adjusted the harmonies in this wonderful song. The ónly thing that is "mine" here, in this arrangement of me playing this great song by A-HA, is the way how I fill in rhythmically all the open spaces (what the soaring synths & strings are doing in the original song). That part, so: the "attack-energy" of a hammer-based-mechanics of a piano, in contrast with the soothing flowing soaring singing legato tones and color of a string instrument / voice / wind instrument, is the hardest part to simulate on an acoustic piano. Kind regards, greetings from the Netherlands, Simon 🎹

@@simonvanthoff this is not bad arrangement but chorus sounds too easy. Listen how Benny Andersen arranged Abba's songs on his last solo piano album. Very pianistic arrangements

@@goodman1127 show me how you yourself would play/arrange the chorus, then I maybe know /understand what you mean by "too easy". Greetings from The Netherlands, Simon 🎹

@@simonvanthoff i will not show you by now but I mean the harmonic simplicity and specific arpeggios in bass lines. It sounds too basic.

@@moham1287 thanks for your very kind comment ! It's a beautiful played & arranged piece by Nina Simone, from her great 1958 debut album with all the songs on that album played just by her and her trio. Not easy to pay it enough justice in a (very) dry living room and without a bass (and drum), but still I tried to make it work more or less, with only my ten fingers (and my feet, the pedals, of course :-)). Kind regards, Simon 🎹

@@Thomas-zp8gv 🎹👍🏻☀️😅

@@Jod3lay dankjewel! Het is niet een 'meteen meezingbaar popliedje', maar ook dit is heel mooi, heel bijzonder, en op z'n eigen manier ook weer moeilijk om te beheersen in al z'n details (ik bedoel, weer andere moeilijkheden te overwinnen dan bij een (groovy) popliedje. Een van Chopin's minder bekende Nocturnes, vanwege het koraal op het eind ook wel "de religieuze" genoemd. Groetjes van Simon 🎹

@@simonvanthoff ik was er echt even voor gaan zitten, erg fijn. Bedankt ook voor je uitleg!

@@Thomas-zp8gv dank! Het is ook geen "hit" op een greatest hits album van Chopin...maar hij heeft veel gecomponeerd, veel te veel voor slechts één greatest hits cd :) Deze is, vind ik, heel bijzonder (zoals zoveel van zijn composities 🎹👌🏻)

@@salkrumm3349 thank you! What a great debut album by Nina Simone 🎹👌🏻

@@NicanorAlejandroCifuentesGil Merci beaucoup! C'est une chanson fantastique, mais c'était tellement difficile de la jouer en solo au piano... cela m'a pris beaucoup de temps. Ma version de Stranger In Moscow était bien plus facile à faire, mais j'aime aussi tellement Who Is It que j'ai vraiment essayé de capturer l'ambiance de la chanson (comme vous l'avez si joliment décrit). Alors merci pour vos gentils mots ! Cordialement, salutations des Pays-Bas, Simon 🎹

Dankjewel Mees :-) Redelijk tevree, tot op zekere hoogte.. Al zal een grote ruimte met een vette vleugel wel geschikter voor het stuk zijn :) enfin, met genuanceerde halve en trage pedalen poog ik een zaal met echo na te doen, en de piano aldus sappiger te laten klinken in mijn gortdroge kamer 😄. De tere Pleyel vleugel was minder geschikt voor deze. Groetjes Simon 🎹