On Sunday, October 2, 2022 at 5:46:27 AM UTC-7,
hvt...@xs4all.nl wrote:
> > It is so refreshing to hear
> > entire Liszt competition programs without any
> > Treifscendentals on display!
>
> The competition is organized around themes. Verdi
> transcriptions, for example. We also had the études
> as a theme, with an obligatory Feux Follets. For one
> of the intended judges, this was a reason not to come.
> According to him, this choice favoured candidates with
> the right physiology.
Did the Utrecht competition ever require a Beethoven
symphony transcription?
> I agree that Steinways (can) sound even more metallic.
> The difference is that the continuity between bass and
> treble is ensured in mostof them - and is lacking in Faziolis,
> at least in Kuroki's Fazioli, imho.
I find this quite surprising, and inconsistent with my own
experience. Most Stoneways I heard had three distinct
differently sounding registers. This can be a blessing
or a curse depending on one's ears and use cases. in
the right and left hands it can facilitate creating the
"3 hands" impression -- which works great for Liszt
and Schumann. It can also sabotage works that
require more uniform textures across the range.
From the instruments I heard, Bechsteins and
Bluthners typically had the most unifrom sound
from top to bottom.
dk