A truly mesmerizing experience. How softly and gently Ms. Swigut caresses the keys while the music flows out seamlessly from Chopin's own piano; a match made in heaven.
Yes, it was spontaneous performance. She was stopped by in museum for some other reason, but people asked her to play and someone recorded it on simple telephone
There’s something so unbelievably magical and also ghost like about hearing these pianos come back to life. It’s the closest to what Chopin himself heard and had in mind when writing his pieces. Nothing else brings us closer to him than this.
Ms.Swigut was not just "a prize-winner (which she was) of the 1st International Chopin Competition on Period Instruments in Warsaw (2018)." She was the First Prize Winner. I love her Chopin on either the Period Instrument or modern. Thank you Aleksandra, for the Chopin Nocturne Op.27/2!
Tomasz Ritter was the first prize and Alexsandra Swigut the second (also Naruhiko Kawaguci ) but she is excellend and sensitive player! Here some short article on winners mainichi.jp/english/articles/20180914/p2g/00m/0et/042000c
The balance and integration of tone is astounding. My opinion (and we must face it, opinion is all we have based on data), the piano sings very much as it did when it was in his apartment in the last months of his life. By his own comments in his few letters, he would have played it very little: he was a terribly sick and dying man. He never "owned" this piano since all the Playels he had were "loaners" from Pleyel...except for two: one was the pianino sent to Majorca (probably paid for by Sand) reaching him just before Sand and he packed up to leave the hellhole of Valdemosa; much later the other grand he had to buy outright in order to take it out of France when he made the killing trip to England in 1848. The deal was he could not take a loaned instrument out of France, so he bought it. It was sold to an Englishwoman when left there so did not returne with him (it's at Hatchlands in England). When back home in Paris, Pleyel sent this loaner and it was with him when he died 17 October 1849. After his death his "guardian angel" Jane Stirling paid Pleyel for it and shipped it to Warsaw to his family.
you're quite right about Chopin's Hatchlands Pleyel, also 1848, which I will in June restring, again removing erroneous wire, in this case stainless steel shark fishing wire, installed in a recent restoration! Regrettably, the hammers are not original in the Hatchlands instrument, but at least I can reshape the Desfougeres felt to the proportions of the Warsaw instrument, then try this and that to approximate the quite beautiful, uniquely well preserved hammers of the piano played by Ms Świgut.
this telephone recording misses 80% of the exceptional tone of the Chopin Museum Pleyel, which was dynamic and singing, quite a revelation. I've seen this piano twice since, replacing bass strings, accurately, and correcting the top six notes of strings, the gauges of which I'd read incorrectly. live and learn...
Magnificent! I so enjoyed Alexsandra's playing during the 1st International Chopin Competition on Period Instruments, and I am following your restoration of this beautiful Pleyel with great interest.
Dear James, thank you for your kind words! We also hope that our 1830 Pleyel copy starts playing this week. ( It should, as the deadline to deliver it 30/12/2021... ) If all is well, I will try to make small sound sample on 27th and possibly post here. Viviana
Dear Fatima, thank you for your comment - this was indeed not staged stoptaneous and lucky mobile telephone recording, truly catching the moment. Happy New Year!
this piano started giving like this right out of the box, after sixty years, without any special attention from this technician, so the voice as it is can be called familiar to the Chopin family.
Yes, this is both instrument and musician - when instrument is replying is certain way, it has to be played differently. This is the same way as we talk differently to different people - if this is good, it is very personal
Wonderful work! I'm writing a novel and the music of Chopin played in a Pleyel ( From 1929) has an important place in the plot. Congratulations for the job!
Good luck with your novel. We also have new Pleyel 1830 - in some ways maybe closer to than - new Pleyel which young Chopin was playing when he first came to Paris
It is a special treat to hear this Erard knowing that it was Chopin’s piano. It desperately needs some voicing to improve the tone. Yikes!!! Nice performance. I love his music, of course, and I have many favorites among the nocturnes. This is one of them even if he wanted it burnt.
knowing the circumstances, as I vaguely recall, this piano, a Pleyel, by the way, was lucky to play at all. There was little chance of a recital, and this performance was not scheduled, but the thing held its sixteen tons on Sunday morning just fine, having been entirely without tension Friday. There were any number of things to do, occupying forty hours in the final two days, and, after all, it worked. Something is happening in the shift position, yikes, and when I return to Poland with new bass strings at the end of January, things will happen. Yours in yikes, Paul McNulty
the nice thing about having a documentary example of the sound world you eloquently describe is that a piano like this could realistically be made available to anyone seeking a similar abandon.
@@mcnultyfp I agree, this was a good idea. She is a great ambassador, not only for these beautiful instruments but also for the non-standardized way of breathing music that still faintly emanates from the period they came from...This is a complete package, and you both work hard to keep it alive, against the current, how precious ! :)
Her authority in these things has resulted from finding her way through the challenges of history, music and pianos with judgement, bountiful imagination and taste. A pioneer. Chopin said go to the Opera, and she clearly has.
@@mcnultyfp Yes, I always saw her as a magnificent musician, and a great master in the making. She blends instinct and knowledge, heart and mind in a very rare and exigeant way. And she has a realm of her own...as most queens do. My best regards to you, keep up the good work !
Interesting performance, but makes me wonder if that's how it truly sounded back in Chopin's time. Objectively, new pianos made in modern times just sound much better than restored pianos. There's just so many innovations in the manufacturing process, the newest Steinway will beat an old Steinway.
You have two questions in one comment: one is if this piano sounded the same in Chopin's time. My guess is that THIS piano sounds quite close - it was not much played and was not even tuned in tention for many years, most parts are original and strings are similar material to its original strings, so it should give be quite close. The second question - if modern time instruments are better than instruments composers wrote their pieces... well... it was already answered by Anton Rubinstein (who was born in 1829 and played pianos from 1848 when they were NEW) "I think that instruments from every period have effects and colors that cannot be reproduced on today's pianos - that compositions were always conceived with the instruments of their time in mind and only on those can they achieve their full effect; played on today's instrument they sound at a disadvantage (unvorteilhaft)." Anton Rubinstein 1892
I also wonder what is your experience with old Steinway. I also had this perception when I played new and older Steinways next to each other in my student years. But this is the same as to compare two cars, one with 10.000 km on and another with 500.000. But I tell you, both of them are NOTHING in comparrison with end 19 centuru Steinway with, I say, 10.000 (new state) I was lucky to try in private home in Spain and vever forget...
@@McNultyFortepianos Paul, very nice quote from Anton Rubinstein! Do you have the exact source by any chance? Also, can you comment on the type of hammers, felts, and their condition in the last Chopin Pleyel? If compared to those of earlier Pleyels, did these felt/leather types change/ evolve quickly over the 1830-1849 period? Is it now known what materials and application methods were used during what time bracket? And finally, would you agree that they are as important as the correct strings, and most importantly who can actually remanufacture them nowadays? Thank you!
@@McNultyFortepianos A bit late of a post from me, new Steinways for me almost always sounded better than the old Steinways. This is assuming you have equal size and both being tip-top condition premium grand pianos. Strings have age to them, the plate has age to them. If you don't play a Steinway, the felt and strings with thousands of lbs of pressure will need to be swapped. For an old Steinway to sound good, they need to be "restored," and usually this means they will swap out all the old parts with new. Your analogy to an old Steinway having 10,000 km (new state) isn't quite accurate. So in your car example, it's like having a 2022 engine and everything inside a 1910 car including the seats to be designed new by 2022 standards. If you actually have a car that's only had 10,000 km with the same old engine, same interior, like a piano that is unplayed for many years where the parts are original design, then it'll never beat a new piano. You can go to Steinway's webpage to see what new designs they have employed in the last 160 years, they have changed their action, rib design, soundboard design, everything has had a development to enhance the sound. In a span of ten years difference, there's already a huge difference in design. My experience with old Steinways is mostly through facilities that refuse to replace an old piano for historic reasons or monetary. They would restore these pianos and have work done on them instead of an entirely new instrument replacing the old. One of the pianos I played even has Lang Lang's signature. Most of the time, they have imbalances and issues that new pianos won't have, issues that are not at the fault of regulation. There is merit to historical accuracy of performing. I like hearing baroque violins and I like hearing harpsicord with Bach. What I think, is there are some limitations to how close we can really get to that true old sound when extensive work is being done.
Yes, this is why modern piano was created - as Brahms wrote "if you want me to play in big halls, please give me Steinway" ( otherwise he was preferring the Streicher )
Is this Chopin's last piano from Hatchlands Park in England? The Hobbs Pleyel piano is dated 1848 and has a Pleyel serial number which proves it was purchased by Chopin in 1848. Are there two Pleyel pianos, both known as Chopin's last piano and dated 1848? I'm confused about this?
no, this is fortepiano from Chopin Institute Warsaw museum collection. Here is more info www.google.com/search?q=mcnulty+chopins+last+piano&rlz=1C1GCEA_enCZ1062CZ1062&oq=mcnulty+chopins+last+piano&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIJCAEQIRgKGKABMgkIAhAhGAoYoAEyCQgDECEYChigATIJCAQQIRgKGKABMgkIBRAhGAoYoAHSAQg2MTI2ajBqN6gCCLACAQ&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:e4084304,vid:OGnkAbBXMwY,st:0
Hammers with modern felt, too hard and brilliant, with a layer of leather on top? The tempo is way too slow, but I guess that if the tempo was as intended by Chopin, the piano would sound 'like a swordfight'. That poor piano has been through various restorations, some during Soviet times, so...
@@mcnultyfp Interesting but one dare go for the full 6 perfect fifths. When going unequal one doesn't need to do things by halves. th-cam.com/video/SUKc37d8o6M/w-d-xo.html
tuning was nominally equal in this time ( Claude Montal), but instructions are only close to equal, the beat rate of thirds subtly adjusted for slightly quieter diatonic keys, and D flat still works.
@@mcnultyfp I don't believe Montal to be the full story. Chopin practiced upon a Pantalon, and his indications for long use of the sustain pedal, as Beethoven also, require the resulting frequency spectrum of the instrument to be very clean so that notes that are harmonious persist whilst those significantly away from harmony die quickly. The new tuning, I believe, came in more universally after the 1870s with the German brand pianos which brought forward the 5th harmonic in their sound rather than the previous prevalence of 3rd harmonic and unequal temperaments I believe persisted on the concert platform much later than is generally assumed. The experiments I've done with a corpus of repertoire and recordings over 1 1/2 decades support the possibility and, curiously for the date, Debussy sounds exceptional in an unequal temperament. th-cam.com/video/KSBVc-XoNV4/w-d-xo.html . Anyway, kudos here for leaning towards the unequal as it is audible and makes an important difference.
Ouch! That right hand so often not coinciding with the left makes me squirm rather. I do not understand why the idea that this is expressive ever caught on. Good performance, though, other than this glaring flaw.
I emphasize the strings were new and only under tension 36 hrs. The piano was not moved. Moving is immaterial, given this structure's completely stable handling of all this tension from completely slack strings a day and a half earlier. Sorry for your discomfort
I am sorry for your experience, this was the first time this piano was played and it was completely unexpected for Aleksandra to perform. If you would listen to the end, you could be more satisfied, as she did much better after she adjusted to the new instrument with totally unfamiliar mechanic and under pressure of people staring at her, with some, possibly, like you, expected her to perform impeccably without any rehearsal. Which she would probably do easily if she would just reserve to pressing right notes, and give up "searching for sound"
A truly mesmerizing experience. How softly and gently Ms. Swigut caresses the keys while the music flows out seamlessly from Chopin's own piano; a match made in heaven.
Yes, it was spontaneous performance. She was stopped by in museum for some other reason, but people asked her to play and someone recorded it on simple telephone
There’s something so unbelievably magical and also ghost like about hearing these pianos come back to life. It’s the closest to what Chopin himself heard and had in mind when writing his pieces. Nothing else brings us closer to him than this.
Oh, yes, so true!
Ms.Swigut was not just "a prize-winner (which she was) of the 1st International Chopin Competition on Period Instruments in Warsaw (2018)." She was the First Prize Winner. I love her Chopin on either the Period Instrument or modern. Thank you Aleksandra, for the Chopin Nocturne Op.27/2!
Tomasz Ritter was the first prize and Alexsandra Swigut the second (also Naruhiko Kawaguci ) but she is excellend and sensitive player! Here some short article on winners mainichi.jp/english/articles/20180914/p2g/00m/0et/042000c
@@McNultyFortepianos Thank you!
Beautiful! Like time-travel, but with so much more point in doing it.
Thank you, we are also very happy!
The balance and integration of tone is astounding. My opinion (and we must face it, opinion is all we have based on data), the piano sings very much as it did when it was in his apartment in the last months of his life. By his own comments in his few letters, he would have played it very little: he was a terribly sick and dying man. He never "owned" this piano since all the Playels he had were "loaners" from Pleyel...except for two: one was the pianino sent to Majorca (probably paid for by Sand) reaching him just before Sand and he packed up to leave the hellhole of Valdemosa; much later the other grand he had to buy outright in order to take it out of France when he made the killing trip to England in 1848. The deal was he could not take a loaned instrument out of France, so he bought it. It was sold to an Englishwoman when left there so did not returne with him (it's at Hatchlands in England). When back home in Paris, Pleyel sent this loaner and it was with him when he died 17 October 1849. After his death his "guardian angel" Jane Stirling paid Pleyel for it and shipped it to Warsaw to his family.
you're quite right about Chopin's Hatchlands Pleyel, also 1848, which I will in June restring, again removing erroneous wire, in this case stainless steel shark fishing wire, installed in a recent restoration! Regrettably, the hammers are not original in the Hatchlands instrument, but at least I can reshape the Desfougeres felt to the proportions of the Warsaw instrument, then try this and that to approximate the quite beautiful, uniquely well preserved hammers of the piano played by Ms Świgut.
this telephone recording misses 80% of the exceptional tone of the Chopin Museum Pleyel, which was dynamic and singing, quite a revelation. I've seen this piano twice since, replacing bass strings, accurately, and correcting the top six notes of strings, the gauges of which I'd read incorrectly. live and learn...
these new iron strings and the old bass strings were completely slack Friday night. This is Sunday noon.
Such a similar sound to my old London Erard of 1854....love the parallel-strung bass! I miss that piano!
Chopin is challenging. IM currently working on Nocturne OP 9 no 2 for the last 3 years . I understand and appreciate her talent.
Yes, I also think she did very well. Each antique fortepiano has different characted and it is difficult to play on piano you don't know.
Magnificent! I so enjoyed Alexsandra's playing during the 1st International Chopin Competition on Period Instruments, and I am following your restoration of this beautiful Pleyel with great interest.
Dear James, thank you for your kind words! We also hope that our 1830 Pleyel copy starts playing this week. ( It should, as the deadline to deliver it 30/12/2021... ) If all is well, I will try to make small sound sample on 27th and possibly post here. Viviana
The ambient noises and filming makes me feel as if I'm in one of the soirées chopin would attend and play
Dear Fatima, thank you for your comment - this was indeed not staged stoptaneous and lucky mobile telephone recording, truly catching the moment. Happy New Year!
ABSOLUTELY MARVELOUS!!!
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Fantastic work--can't wait to hear more!
this piano started giving like this right out of the box, after sixty years, without any special attention from this technician, so the voice as it is can be called familiar to the Chopin family.
Oh man, what I would give to play this piano. Very beautiful!
come to Warsaw ;-)
A very sweet piano, played very sweetly. Positively splendid!
Yes, exactly. This is piano for the soul
What a beautiful instrument! And beautiful playing. Thank you for this video, which might just be one of my most favorite videos of all time!
We are so happy!
Absolutely magnificent playing. Chopin is magic
Thank you! We were very happy with this unplanned performance
The highs and mid range sounds much richer,clearer and more singing than than most Erards I've heard.
WOW!!!
Absolutely stunning performance. We really need to get the sound of the modern piano in Chopin out of our heads.
Yes, this is both instrument and musician - when instrument is replying is certain way, it has to be played differently. This is the same way as we talk differently to different people - if this is good, it is very personal
Wonderful work! I'm writing a novel and the music of Chopin played in a Pleyel ( From 1929) has an important place in the plot. Congratulations for the job!
Good luck with your novel. We also have new Pleyel 1830 - in some ways maybe closer to than - new Pleyel which young Chopin was playing when he first came to Paris
Great...! 💖🙌
thank you!
この曲私のレパートリーです。広島の教会にあるベヒシュタインで弾きました。夫が初めて私の演奏を褒めてくれましたが、やはり ピアノそのものが良かったのだと思います♪
It is a special treat to hear this Erard knowing that it was Chopin’s piano. It desperately needs some voicing to improve the tone. Yikes!!! Nice performance. I love his music, of course, and I have many favorites among the nocturnes. This is one of them even if he wanted it burnt.
knowing the circumstances, as I vaguely recall, this piano, a Pleyel, by the way, was lucky to play at all. There was little chance of a recital, and this performance was not scheduled, but the thing held its sixteen tons on Sunday morning just fine, having been entirely without tension Friday. There were any number of things to do, occupying forty hours in the final two days, and, after all, it worked. Something is happening in the shift position, yikes, and when I return to Poland with new bass strings at the end of January, things will happen. Yours in yikes, Paul McNulty
I had the pleasure of touching this very piano back in 1994 at the Ostrogsky palace in Warsaw
A little parenthesis of ageless elegance and beautiful abandon...
Thanks for the time-machine ride !
the nice thing about having a documentary example of the sound world you eloquently describe is that a piano like this could realistically be made available to anyone seeking a similar abandon.
@@mcnultyfp I agree, this was a good idea. She is a great ambassador, not only for these beautiful instruments but also for the non-standardized way of breathing music that still faintly emanates from the period they came from...This is a complete package, and you both work hard to keep it alive, against the current, how precious ! :)
Her authority in these things has resulted from finding her way through the challenges of history, music and pianos with judgement, bountiful imagination and taste. A pioneer. Chopin said go to the Opera, and she clearly has.
@@mcnultyfp Yes, I always saw her as a magnificent musician, and a great master in the making. She blends instinct and knowledge, heart and mind in a very rare and exigeant way. And she has a realm of her own...as most queens do.
My best regards to you, keep up the good work !
Interesting performance, but makes me wonder if that's how it truly sounded back in Chopin's time. Objectively, new pianos made in modern times just sound much better than restored pianos. There's just so many innovations in the manufacturing process, the newest Steinway will beat an old Steinway.
You have two questions in one comment: one is if this piano sounded the same in Chopin's time. My guess is that THIS piano sounds quite close - it was not much played and was not even tuned in tention for many years, most parts are original and strings are similar material to its original strings, so it should give be quite close. The second question - if modern time instruments are better than instruments composers wrote their pieces... well... it was already answered by Anton Rubinstein (who was born in 1829 and played pianos from 1848 when they were NEW) "I think that instruments from every period have effects and colors that cannot be reproduced on today's pianos - that compositions were always conceived with the instruments of their time in mind and only on those can they achieve their full effect; played on today's instrument they sound at a disadvantage (unvorteilhaft)." Anton Rubinstein 1892
I also wonder what is your experience with old Steinway. I also had this perception when I played new and older Steinways next to each other in my student years. But this is the same as to compare two cars, one with 10.000 km on and another with 500.000. But I tell you, both of them are NOTHING in comparrison with end 19 centuru Steinway with, I say, 10.000 (new state) I was lucky to try in private home in Spain and vever forget...
@@McNultyFortepianos Paul, very nice quote from Anton Rubinstein! Do you have the exact source by any chance? Also, can you comment on the type of hammers, felts, and their condition in the last Chopin Pleyel? If compared to those of earlier Pleyels, did these felt/leather types change/ evolve quickly over the 1830-1849 period? Is it now known what materials and application methods were used during what time bracket? And finally, would you agree that they are as important as the correct strings, and most importantly who can actually remanufacture them nowadays? Thank you!
Well, some new pianos can be better than old pianos to play a particular piece but not all the times.
@@McNultyFortepianos A bit late of a post from me, new Steinways for me almost always sounded better than the old Steinways. This is assuming you have equal size and both being tip-top condition premium grand pianos. Strings have age to them, the plate has age to them. If you don't play a Steinway, the felt and strings with thousands of lbs of pressure will need to be swapped. For an old Steinway to sound good, they need to be "restored," and usually this means they will swap out all the old parts with new. Your analogy to an old Steinway having 10,000 km (new state) isn't quite accurate. So in your car example, it's like having a 2022 engine and everything inside a 1910 car including the seats to be designed new by 2022 standards. If you actually have a car that's only had 10,000 km with the same old engine, same interior, like a piano that is unplayed for many years where the parts are original design, then it'll never beat a new piano. You can go to Steinway's webpage to see what new designs they have employed in the last 160 years, they have changed their action, rib design, soundboard design, everything has had a development to enhance the sound. In a span of ten years difference, there's already a huge difference in design.
My experience with old Steinways is mostly through facilities that refuse to replace an old piano for historic reasons or monetary. They would restore these pianos and have work done on them instead of an entirely new instrument replacing the old. One of the pianos I played even has Lang Lang's signature. Most of the time, they have imbalances and issues that new pianos won't have, issues that are not at the fault of regulation. There is merit to historical accuracy of performing. I like hearing baroque violins and I like hearing harpsicord with Bach. What I think, is there are some limitations to how close we can really get to that true old sound when extensive work is being done.
I have to say modern piano’s are really painful to my ears except in concert halls! This piano is so delicate!
Yes, this is why modern piano was created - as Brahms wrote "if you want me to play in big halls, please give me Steinway" ( otherwise he was preferring the Streicher )
Is this Chopin's last piano from Hatchlands Park in England? The Hobbs Pleyel piano is dated 1848 and has a Pleyel serial number which proves it was purchased by Chopin in 1848. Are there two Pleyel pianos, both known as Chopin's last piano and dated 1848? I'm confused about this?
no, this is fortepiano from Chopin Institute Warsaw museum collection. Here is more info www.google.com/search?q=mcnulty+chopins+last+piano&rlz=1C1GCEA_enCZ1062CZ1062&oq=mcnulty+chopins+last+piano&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIJCAEQIRgKGKABMgkIAhAhGAoYoAEyCQgDECEYChigATIJCAQQIRgKGKABMgkIBRAhGAoYoAHSAQg2MTI2ajBqN6gCCLACAQ&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:e4084304,vid:OGnkAbBXMwY,st:0
is that so,e sort of untempered tuning it just sounds kinda weird
Je conteste les feutres trop durs ... c est impossible ... les feutres avaient une densité de 0.25gr/cm3.
Hammers with modern felt, too hard and brilliant, with a layer of leather on top? The tempo is way too slow, but I guess that if the tempo was as intended by Chopin, the piano would sound 'like a swordfight'. That poor piano has been through various restorations, some during Soviet times, so...
4:41 wow
Beautiful and resonant. Is an unequal temperament audible here?
divide Young's cents figures by four. Same symmetry of keys, much reduced difference, but unmistakable.
@@mcnultyfp Interesting but one dare go for the full 6 perfect fifths. When going unequal one doesn't need to do things by halves. th-cam.com/video/SUKc37d8o6M/w-d-xo.html
tuning was nominally equal in this time ( Claude Montal), but instructions are only close to equal, the beat rate of thirds subtly adjusted for slightly quieter diatonic keys, and D flat still works.
@@mcnultyfp I don't believe Montal to be the full story. Chopin practiced upon a Pantalon, and his indications for long use of the sustain pedal, as Beethoven also, require the resulting frequency spectrum of the instrument to be very clean so that notes that are harmonious persist whilst those significantly away from harmony die quickly. The new tuning, I believe, came in more universally after the 1870s with the German brand pianos which brought forward the 5th harmonic in their sound rather than the previous prevalence of 3rd harmonic and unequal temperaments I believe persisted on the concert platform much later than is generally assumed. The experiments I've done with a corpus of repertoire and recordings over 1 1/2 decades support the possibility and, curiously for the date, Debussy sounds exceptional in an unequal temperament. th-cam.com/video/KSBVc-XoNV4/w-d-xo.html . Anyway, kudos here for leaning towards the unequal as it is audible and makes an important difference.
Ouch! That right hand so often not coinciding with the left makes me squirm rather. I do not understand why the idea that this is expressive ever caught on. Good performance, though, other than this glaring flaw.
To paraphrase Chopin: The left hand is the trunk of the tree, solid and steady, the right hand the leaves and branches, swaying in the wind.
@@NathanShirley thank you, I was just going to answer this :-) Viviana
It's OK that you don't understand this, don't worry :)
@@NathanShirley Maybe he said that - but it doesn't help it sound more right.
@@hedyaronm Whether that's okay or not is not the issue.
this magnificent piano needs further tuning. don't move the piano after tuning. the tune will change at a slightest movement
I would say it is not bad after new strings were put on and only one tuning was made. What do you think?
I emphasize the strings were new and only under tension 36 hrs. The piano was not moved. Moving is immaterial, given this structure's completely stable handling of all this tension from completely slack strings a day and a half earlier. Sorry for your discomfort
@@mcnultyfp No matter what your level of expertise, people in the youtube comments section will always know better
Who ARE you? You look vaguely familiar. Oh never mind, a PhD from TH-cam.
@@gerryjarcia :-)
She is all over the place, missed notes... could not listen till the end,
I am sorry for your experience, this was the first time this piano was played and it was completely unexpected for Aleksandra to perform. If you would listen to the end, you could be more satisfied, as she did much better after she adjusted to the new instrument with totally unfamiliar mechanic and under pressure of people staring at her, with some, possibly, like you, expected her to perform impeccably without any rehearsal. Which she would probably do easily if she would just reserve to pressing right notes, and give up "searching for sound"
@@McNultyFortepianos Hear, hear
If you can do better then show it or shut up