Marcus' videos are truly brilliant. I've learned so much about pianos, voicing, strings, actions, old vs new, needling...it makes me want to go and explore inside a piano! Today's learning was the "una corda pedal" and voicing specifically for them. I will continue to binge these videos as the enthusiasm and enjoyment Marcus conveys really makes my day. I am seriously considering travelling down to Oxford from Manchester later this year to buy my first acoustic from Roberts Pianos
Thank you so much Chris for your encouraging comment. Delivery to Manchester is no problem. This map shows where some of our pianos went recently: www.robertspianos.com/deliver-to/. Marcus
I have a 1886 Bechstein model V. Unrestored. I literally fell in love with it the first time I played it and now that I have 1 for 6 years I'm still in love with its sound. It is so warm and deep
Abel premium felt hammers work really well on Bechstein. From memory Oorebeek counsels heavily against top hammer voicing but it's good to see your success with it and the effect on the una corda. Being a fan of the 1880s Bechsteins I find myself having come back to this video!
How wonderful to hear these comparisons. From your videos you're possibly the one firm in England to whom I'd entrust repair or refurbishment of a valued piano. I've been tuning Bechstein in particular for over 35 years and tuning can be key to a Bechstein - th-cam.com/video/7JF3YzTG7lU/w-d-xo.html . In around 1893 they were basking in the glory of Royal Appointment and manufacturing possibly the peak of their numbers. But for that reason the instruments of 1885 and 1886 when they moved into and opened their showroom in London are real Golden Age as far as I'm concerned. Glad you've rehammered with Abel. They suit Bechstein extremely well. Here's the Hammerwood 1885 Bechstein in concert th-cam.com/video/tzDC5e1S7UQ/w-d-xo.html after the Abel hammers have settled in and hope this recording might be of interest. In my opinion it's very appropriate to have these instruments in high regard: in perception they're neglected and underrated.
if you change the soundboard, how much Bechstein will rest? It sounds beautiful as well... in the video it is not easy or perhaps not possible to hear the difference between a new and an old soundboard. When you have both under your fingers you can fell the about 130 years of aging?
We try to keep original soundboards where possible; replaced with good quality ones, the tone can still be excellent, but something of the original tone is inevitably lost. Marcus
That was really lovely toning for the soft pedal - not often found, even on pianos in concert halls. Often the whole hammer seems over-needled, which reduces the pianist's options for contrasts. The voicing here demonstrates so well what is often not possible. It's so important for pianists to have a good technician,. As Charles Rosen said in his book 'Piano Notes,' an exceptional technician is rarer than an exceptional pianist. I can't disagree with the rarity of exceptional technicians but can't agree that exceptional pianists are easier to find! Regarding the use of the left pedal, it can also be used to good effect when playing, say, mezzo forte or even forte to help with dynamic colour variety. One hesitates to use it often in the absence of a good technician to re-voice as in the example when the need arises!. No wonder pianists such as Horowitz, Michelangeli and Gould attached such importance to having their chosen technicians at hand!
Just now seeing this and, for me, the tone of the 1886 piano Is really special. It truly sings. Thanks for all your great information.
Marcus' videos are truly brilliant. I've learned so much about pianos, voicing, strings, actions, old vs new, needling...it makes me want to go and explore inside a piano!
Today's learning was the "una corda pedal" and voicing specifically for them. I will continue to binge these videos as the enthusiasm and enjoyment Marcus conveys really makes my day. I am seriously considering travelling down to Oxford from Manchester later this year to buy my first acoustic from Roberts Pianos
Thank you so much Chris for your encouraging comment. Delivery to Manchester is no problem. This map shows where some of our pianos went recently: www.robertspianos.com/deliver-to/. Marcus
I have a 1886 Bechstein model V. Unrestored. I literally fell in love with it the first time I played it and now that I have 1 for 6 years I'm still in love with its sound. It is so warm and deep
Thank you for the vid. You are a wealth of knowledge.
Thank you MetaView7 my father Marcus will be encouraged to read your comments. Greetings from Roberts Pianos Oxford, Evan Roberts
Abel premium felt hammers work really well on Bechstein. From memory Oorebeek counsels heavily against top hammer voicing but it's good to see your success with it and the effect on the una corda. Being a fan of the 1880s Bechsteins I find myself having come back to this video!
Being in England I'd be surprised if you've ever had Mason & Hamlin come your way. I'm not a technician but the biggest fan of your profession.
Schimmel is my choice...beautiful sound.
Omg you replaced the soundboard? Wow geez that's a huge undertaking it must have warranted it .
How wonderful to hear these comparisons. From your videos you're possibly the one firm in England to whom I'd entrust repair or refurbishment of a valued piano. I've been tuning Bechstein in particular for over 35 years and tuning can be key to a Bechstein - th-cam.com/video/7JF3YzTG7lU/w-d-xo.html . In around 1893 they were basking in the glory of Royal Appointment and manufacturing possibly the peak of their numbers. But for that reason the instruments of 1885 and 1886 when they moved into and opened their showroom in London are real Golden Age as far as I'm concerned. Glad you've rehammered with Abel. They suit Bechstein extremely well. Here's the Hammerwood 1885 Bechstein in concert th-cam.com/video/tzDC5e1S7UQ/w-d-xo.html after the Abel hammers have settled in and hope this recording might be of interest. In my opinion it's very appropriate to have these instruments in high regard: in perception they're neglected and underrated.
if you change the soundboard, how much Bechstein will rest? It sounds beautiful as well... in the video it is not easy or perhaps not possible to hear the difference between a new and an old soundboard. When you have both under your fingers you can fell the about 130 years of aging?
We try to keep original soundboards where possible; replaced with good quality ones, the tone can still be excellent, but something of the original tone is inevitably lost. Marcus
Both pianos are wonderful. Jorge Bolet only played the bechstein; I knew one of his tuners, who told me that Bolet said “it plays itself.”
Bolet was a Baldwin artist. Sorry.
@@JeremyRaden Bolet might have used Baldwins in the USA, but Bechstein was definitely his preferred instrument.
That was really lovely toning for the soft pedal - not often found, even on pianos in concert halls. Often the whole hammer seems over-needled, which reduces the pianist's options for contrasts. The voicing here demonstrates so well what is often not possible. It's so important for pianists to have a good technician,. As Charles Rosen said in his book 'Piano Notes,' an exceptional technician is rarer than an exceptional pianist. I can't disagree with the rarity of exceptional technicians but can't agree that exceptional pianists are easier to find! Regarding the use of the left pedal, it can also be used to good effect when playing, say, mezzo forte or even forte to help with dynamic colour variety. One hesitates to use it often in the absence of a good technician to re-voice as in the example when the need arises!. No wonder pianists such as Horowitz, Michelangeli and Gould attached such importance to having their chosen technicians at hand!
Thanks for your encouraging comments Steven. Would love to meet you sometime; a warm welcome awaits you in Oxford UK! Happy Christmas! Marcus
Happy Christmas to you too Marcus, and all at Roberts Pianos. A pity Durban to Oxford is quite a distance!
Comment. You say Ivory keytops have a join between head and tail. This not so. My S&S 1914 has whole ivory keytops. No join. Also they are original.
Yes, sorry I forgot to say that pianos made after about 1950 often have one piece ivory. Marcus