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PostPosted: Fri Apr 24, 2009 10:32 pm 
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You are funny, Andreas. I bet you spend more time looking for just the right smiley than on actually typing out your comments! haha ( I do too - LOL) (I'm too lazy right now put one up right this second).

Ok - Chapter 17:

That poor piano! My goodness, I can’t believe how terrible Jos behaved!

I can relate to Anna paying him anyway just so that he would leave and to prevent something else bad from happening. My tuner has never done anything wrong to me or to my piano. He is a very nice and normal guy. But when I think about it, he comes to my home when I am by myself. If he were to become ‘weird’, I would pay him so he would leave right away too.

And what do you guys think about Anna and Thad talking about how they can ‘escape’ into a different place in their minds when they play music. That’s exactly how it is with me. I am most of the time making up a story in my mind when I play. It’s not always good to do that though, because often times I get to the end of a piece without realizing I just played the whole thing. I really should have been working on some technical issue and instead just wasted all that time with my fantasizing! So then I have to back to the beginning…

What say you both?

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PostPosted: Sat Apr 25, 2009 12:43 am 
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O.k., chapter 17 was a sad one somehow. It´s really sad, that Luc seems to be an alcoholic and at the end it isn´t clear, if he had replaced also the broken string in Annas Bechstein. It´s just clear, that he has retuned the piano and that he has done this properly now.
I had good luck until now, because never a string break down in any of my pianos until today. (O.k. anytime there will be the first time, I think.) But I knew, that a new string has to be retuned several times, until it sounds correctly.

I seldom can be absent, if I play piano, Monica. I´m mostly very concentrated. In the case it´s a piece I know well and if I´m not concentrated I can play it through while thinking on other things, f.ex. what happened in my school-lessons or similar. If it´s a new piece (or a more complicated one), I´m not able to play it properly through, if I´m not truely concentrated.

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PostPosted: Sat Apr 25, 2009 4:30 am 
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It's not Luc that is the alcoholic, but the piano tuner, Jos.

I have never broken a string, either. I have never even seen a broken string.

But Andreas, are you saying that you broke a string today? How did that happen? What were you playing? Did it make a loud noise when it broke? Did it shoot out of the piano? Did you jump?

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PostPosted: Sat Apr 25, 2009 11:28 am 
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Pianolady wrote:
Quote:
It's not Luc that is the alcoholic, but the piano tuner, Jos.


That´s what I meant, when I told you, that I´m an absent-minded professor sometimes. :roll: I´ve read so much literature (because of my profession of a German-teacher), that in moments, I´m tired and not more so concentrated, it easily happens to me, that I change names of the figures of the novel. Of course, I knew, that´s Jos.

Quote:
I have never even seen a broken string.


I have seen some during my life, but fortunately on other pianos than mine.

Quote:
But Andreas, are you saying that you broke a string today? How did that happen? What were you playing? Did it make a loud noise when it broke? Did it shoot out of the piano? Did you jump?


No Monica, that´s also fortunately a missunderstanding. May be I didn´t express me correctly. I have never broken a string, not today either. I just think: anytime always could be the first time, so it´s possibel (and probable), that it´ll happen to me and to most pianists one day. (Especially to such wild players like me. :wink: :lol: )

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PostPosted: Sun Apr 26, 2009 2:49 pm 
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Chapters 18 and 19 are short, so here is my summary on both.

Chap. 18 – Thad is finally getting his pedal brace. And what quirky behavior from that locksmith. It does seem like a complicated relationship between the business owners in that little neighborhood. I think that is kind of neat, though; like a sort of ‘you rub my back, and I’ll rub yours’ kind of way. And weren’t you excited to know about the new Erard coming in? And especially if Luc was actually going to receive it?

Chap. 19 – Never mind the Erard, now we have what could actually be Beethoven’s piano! Wow! I would love to have seen that. And now we clearly know why Beethoven seemed to easily smash pianos – they did not have the metal frame yet.

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PostPosted: Sun Apr 26, 2009 8:48 pm 
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Hi MOnica,
this weekend I had only time for the first half of chapter 18. I think, I need a little break now, because at this time I have very much to do for my job.

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PostPosted: Mon Apr 27, 2009 4:09 am 
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No problem, Andreas. Whenever you feel like posting something is fine. Nathan has probably read the whole book by now, and I am just sort of following you guys. So we will all just go with the flow.
(that means to take it day to day)

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PostPosted: Mon Apr 27, 2009 2:19 pm 
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No, actually ... I didn't read it at all over the weekend .... although it's KILLING me not to know!!!

anyway, I thought the drunk Jos was hysterical ... I don't know why, but I couldn't stop laughing at his really horrible behaviour.

I too like to go other places when I play. I loved your comment thought about suddenly being at the end of a piece and wondering where the rest of the music went!!! hehe

Gonna catch up to you this morn. So, bbl.

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PostPosted: Wed Apr 29, 2009 2:31 pm 
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I would like to play on some of these pre-iron harp pianos.
I remember when I was really being forced to perform Mozart at about 12-13 years old, I complained to teacher at time "I feel like I'm being squished into a too-small box". I now think about how frustrating it must have been for those composing greats of time to be confined to a lesser sound than they wished.

I'm starting to wonder if Luc is a smuggler?? That scene with the blacksmith was bizarre. Is there a piano black-market?

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PostPosted: Wed Apr 29, 2009 5:05 pm 
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Yeah - poor Beethoven. At least Liszt was around when the piano he needed came to be.

And Nathan, was it that the Mozart pieces you were playing felt like 'small' pieces and therefore you weren't interested in playing them, or were you playing on a different instrument?

A piano black market - hmmm. Wouldn't surprise me. There are piano collectors who probably get into some shady dealings to get the piano they want.

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PostPosted: Wed Apr 29, 2009 5:18 pm 
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I played on a modern piano. The rigidity of style and lightness of tone irritated me in pre-romantic music. It made me feel boxed-in ... not free, as with the romantics and later. Of course, now I understand why it made me feel as such.

In any case, just read ch20 whilst stirring the chefboyardee for the monsters. I'd love to do a master class sometime, although I'm finding myself oddly intimidated playing for others (especially knowledgeables) now. Never had a care before. do a google search on feuchtwanger ... interesting stuff ... similar to abby whiteside's philosophy it seems. I believe in this too ... makes mastering technical difficulties much easier.



ps - thinking about next book for club. I have two nominations but we don't have to do them first. I read them as teenager and had a big impression ... would love to revisit them with you guys! The first one is titled "Solo" by Jack Higgins. It's was great fun ... a concert pianist/assassin tours the world.

The other is called "Fingers" by William Sleator. here's the synopsis: Eighteen-year-old Sam has always been jealous of his younger brother, Humphrey, the famous “wonder child” pianist. But now that Humphrey is fifteen, the one-time child prodigy isn’t able to get any more bookings. Sam’s mother refuses to accept that Humphrey’s career is over and devises a scheme to recapture his fame: Sam will compose “new works” by a long dead gypsy composer, and they will tell the world that the composer is dictating the music to Humphrey from the grave. The scheme is a wild success—until some ghostly occurrences convince Sam that the spirit of the dead composer has actually taken over Humphrey’s fingers. Have Sam and his family unleashed a force from beyond the grave?

This second book started my obsession with Liszt. Although a fictional composer in the novel, it seemed loosely based on Liszt. Anyway, let me know what ya'll think when we finish with this one. I'm THOUROUGHLY enjoying this so far!

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PostPosted: Wed Apr 29, 2009 6:52 pm 
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haha - well, I just inhaled a plate of spaghetti because I was starving.

I'm ready to read chapter 20, just kind of waiting. I'll do it later today.

And all those books sound great! I think I've read Jack Higgins before but I can't remember what. But that "Fingers" book sounds like something right up my alley. Reminds me of another book I read a couple years ago about a woman whose body is taken over by Franz Schubert. She can suddenly play piano like an expert, stuns the teachers of Juilliard and then Schubert leads her to his 'Unfinished Symphony'.

So let's go for Fingers next. Maybe we can round up some more members too?

Ok, I'm going to look up that word now after I finish up doing a new member.

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PostPosted: Wed Apr 29, 2009 7:10 pm 
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pianolady wrote:


Ok, I'm going to look up that word now after I finish up doing a new member.


HHMMMMMM ..... man, when I signed up all I got was a handshake from Chris and a distant wave from Robert! :lol: 8)

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PostPosted: Wed Apr 29, 2009 7:20 pm 
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nathanscoleman wrote:
pianolady wrote:


Ok, I'm going to look up that word now after I finish up doing a new member.


HHMMMMMM ..... man, when I signed up all I got was a handshake from Chris and a distant wave from Robert! :lol: 8)




Image

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PostPosted: Wed Apr 29, 2009 7:51 pm 
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aha ha ha - very funny. You both better watch it, or I'll give you a Chinese foot massage. (they hurt!):lol:

And that word, feuchtwanger. I thought it was a kind of sausage, but it looks like it's a person, right? I only briefly glanced at some articles. Not sure where it says anything about mastering technical difficulties.

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PostPosted: Wed Apr 29, 2009 8:07 pm 
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*striving to contain a sausage joke* :cry:

In any case, when you read ch20 ... he conducts a masterclass.

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PostPosted: Wed Apr 29, 2009 10:00 pm 
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I haven´t still read chapter 20, but I think, I´ll find some time at the weekend. (I have read ch. 18 now and will start tomorrow with ch. 19.)
Lion Feuchtwanger (1884-1958) was a famous german author, well known for his historical novel like f.ex. "Jud süß", "Die hässliche Herzogin Margarete Maultasch" and the "Josephus-Trilogie". So, a bit another "thing" as a sausage, alas! :lol: Or may be you mean Wilhelm Furtwängler, which was a famous conductor?
Don´t know, if that helps you.

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PostPosted: Thu Apr 30, 2009 1:53 pm 
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peter feuchtwanger actually

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PostPosted: Thu Apr 30, 2009 5:04 pm 
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Ah, o.k., the pianist with his method of a physiological, psychological cure at the piano...Didn´t come on this thought first... :roll:

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PostPosted: Sat May 02, 2009 3:55 pm 
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I just finished reading chapter 20 and found it very interesting! It hit on a couple points I am currently dealing with. The first is what Feuchtwanger teaches. I’ve heard others talk about that same philosophy about staying in a relaxed position, striking the note, and then going back to a centered repose. My own teacher has tried to get me to that too, because much of my tendonitis problem stems from remaining tense all the time when I play.

I’m working on a piece with a difficult LH fast ascending arpeggio and when I do actually remember to relax, it goes better. However, I can’t relax too much or it doesn’t go at all. For me, I have to tell my brain to relax and don’t get so nervous about that arpeggio coming up. But when I actually start on it, I have to play really hard and forcefully to get it to go to the top.

The other point I found interesting is when he admonished the young student when she didn’t want to take a repeat. I liked when Feuchtwanger said, "A repeat is never the same." Made me think of that Bach Aria in which you can play the ornaments differently in the repeats. Remember talking about that, Andreas? I was thinking of not doing a repeat in the same piece I’m working on that I mentioned up above, but now I think I will.

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PostPosted: Sat May 02, 2009 4:58 pm 
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Pianolady wrote:
Quote:
I just finished reading chapter 20 and found it very interesting! It hit on a couple points I am currently dealing with. The first is what Feuchtwanger teaches. I’ve heard others talk about that same philosophy about staying in a relaxed position, striking the note, and then going back to a centered repose. My own teacher has tried to get me to that too, because much of my tendonitis problem stems from remaining tense all the time when I play.


Oh, Monica, I didn´t know, that you have such a problem. I´m just going to read chapter 20 now and then I´ll write you my opinion to that. But I know, that an artificial tension all the time while playing is not a good thing.

Quote:
I’m working on a piece with a difficult LH fast ascending arpeggio and when I do actually remember to relax, it goes better. However, I can’t relax too much or it doesn’t go at all. For me, I have to tell my brain to relax and don’t get so nervous about that arpeggio coming up. But when I actually start on it, I have to play really hard and forcefully to get it to go to the top.


My tip is: try not to think of it. Think of other things f.ex. or nothing and try to let through the music itself. The best way to solve problems is to let them and not to think of the problem, because we make them ourself (even if it is unconscious). I know, that this is easier said as done.

Quote:
The other point I found interesting is when he admonished the young student when she didn’t want to take a repeat. I liked when Feuchtwanger said, "A repeat is never the same." Made me think of that Bach Aria in which you can play the ornaments differently in the repeats. Remember talking about that, Andreas? I was thinking of not doing a repeat in the same piece I’m working on that I mentioned up above, but now I think I will.


Yes, I do remember well, that we talked about this. For me the repeats mostly are very important because they are a certain chance, to say the same with other words, to bring change and interesting lightings and colours to the musical ideas.

To chapter 18 (The Deal): I found it very interesting, that Luc played the game with his dealer and his client "like Molière". That´s very French, this manner, and very clever. I find it likewise, that Luc takes the risc and trusts the dealer.

To chapter 19 (Beethovens piano): That was a very interesting and deep view into the piano-world of 18th and 19th century. I still have played on a "Tafelklavier" (virginal) of 18th century. It was in a castle and I asked, if I might play on it. The tone was really bell-like and soft and much more silent then the tone of our pianos of today. I also have some recordings of Jörg Demus, who plays on the Viennese piano of Beethoven, built by Graf in the 1820th. It was his last piano he possessed. I think, this one still has a metal frame, but it sounds very differently from todays pianos, its tone is much more thinner and its registers are much more imbalanced.
It´s a pity, that the art of wood is "out of the world, in which we live today", like it´s said in the novel. I fear in 200 years or so wooden pianos could be out of the world like this art of 18th century is still today. May be in 200 years there only will be electronic pianos or "virtual pianos". What do you think?

I´m going to chapter 20 right now! Hope I´ll finish it this evening! I really like this book very much!

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PostPosted: Sat May 02, 2009 8:32 pm 
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IMHO, I think piano continues to become a more specialized and eccentricism. Especially here in the states, it may be different in the old world.

I have two pianos ... an upright baldwin and an electric Yamaha. The Baldwin is really a pitiful instrument ... icky sound, uneven action, ugly resonance with pedal. Many times I enjoy the electric more because of how nice it is to play: action is always the same and always in tune. Although the tone produced many times is just lacking .... most especially is this noticeable after playing on a real piano. But, I would think, most non-musicians really wouldn't notice ... or that it would even make that much of a difference.

I've been most affected in the book at the beautiful descriptions of the roundness, fullness of tone from the pianos. Also, the difference in sound ... I really, really want a piano!!!!

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There are some piano manufacturers that are using plastic for certain parts inside the piano. I wonder if more plastic will be used in the future. Do you think they could make a sound board out of plastic? Or what about metal? Maybe that would produce too loud of a sound?

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PostPosted: Sat May 02, 2009 10:18 pm 
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Pianolady wrote:
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There are some piano manufacturers that are using plastic for certain parts inside the piano.I wonder if more plastic will be used in the future. Do you think they could make a sound board out of plastic? Or what about metal? Maybe that would produce too loud of a sound?


I´m quite sure, that this is impossible both plastic and metal, because the sound would be to tinny and loud.
I could imagine (with a bit science-fiction-fantasy), that in 50 to 100 years or so the holograms will be as well developed, that it will be possible to play on a "hologram-piano", which is virtual and not real. Poor men of the future, what will they do, if there will be an outage? :wink: :lol:

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Last edited by musicusblau on Sat May 02, 2009 11:12 pm, edited 2 times in total.

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PostPosted: Sat May 02, 2009 10:26 pm 
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IMHO, I think piano continues to become a more specialized and eccentricism. Especially here in the states, it may be different in the old world.


I think, here in Germany the piano is still very prevalent, but digital pianos respective e-pianos capture the front more and more. I think, this is mirrored also on PS, isn´t it?

An accoustic natural piano can´t be compared with an e-piano, because it´s sound has more soul and naturalness, even you regard the more superficial "advantages" of an e-piano like always to be in the right tuning, to have a regular action and so on. These "advantages" do not replace the soul, character and naturalness of the sound of a real piano, because bad tuning and bad action can easily be corrected by a piano manufacturer respective tuner. :wink:

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PostPosted: Sat May 02, 2009 10:41 pm 
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To chapter 20, which I have read at last (I discover, that I need nearly the triple of time to read a book in English than I need for to read a book in German :roll: ):
This is probably the most interesting chapter for me in the novel until now.
There is so much wisdom in what Peter Feuchtwanger and György Sebök say to their students:
F.ex. that we put always ourself in the interpretation to the composers intention and that a wrong note here and there doesn´t matter, if the expression and the concept are coming from inside and convincing.
Indeed, what Sebök calls the "emptiness" or the inner calm center is the origin for every good music. Indeed, all tensions and anticipations are the biggest enemies of true music-making and all is ambiguous. That means, that there are thousands of possibilities concerning the interpretation of one piece and to interpret means, to explore one of these thousands of possibilities.
I like very much the notion of Peter Feuchtwanger, that the arm and the fingers are like an extension of the keys. This is an imagination, my professor teached me during my studies. And yes, technique is vastly overrated. People forget, where true technique has to come from, that is to say from that inner center of musical imagination and flow. And this is so easily blocked by fear. This is the reason I´m glad to have piano-playing just as a hobby. It´s a luck from my view not to have made a concert-career with all its pressure, so I´m free now to play like my concepts and inner center describe it to me. And: the longer I practise on a piece (in the best case so long, that I can play it by heart) the more I´m able to play it in the true manner.

I´m glad, that in the novel I got confirmed a way again, on which I´m principally since years. But I would be interested in more concrete aspects of the method of Feuchtwanger. Do you know, if there is a book of his method?

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PostPosted: Sun May 03, 2009 4:21 pm 
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Quote:
(I discover, that I need nearly the triple of time to read a book in English than I need for to read a book in German Rolling Eyes ):


no worries ... last time I had to read a novel not in English ... I joked to my wife, now I know how you feel when you read a book! It took me 3 or 4 days to finish the novel ... horrificly slow for me!

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PostPosted: Sun May 03, 2009 8:07 pm 
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Nathanscoleman wrote:
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no worries ... last time I had to read a novel not in English ... I joked to my wife, now I know how you feel when you read a book! It took me 3 or 4 days to finish the novel ... horrificly slow for me!


Wow! :shock: So, this must be a foreign language you are very used to, isn´t it? I´m reading since 8th of april now on "The pianoshop..." , o.k. with interruptions, but my aim is, to improve my English and to learn more vocabulary, so I very often look after new words in the dictionary. I have to say, it´s a very useful thing, to read with an e-book and to have an online-dictionary at the same time. So, looking for an unknown word is much faster as if you use a normal book and a normal dictionary.

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PostPosted: Sun May 03, 2009 8:13 pm 
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you're doing great!!! I wouldn't worry about the speed ... I have too much time on my hands, thus I read constantly.

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PostPosted: Sun May 03, 2009 9:27 pm 
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Nathanscoleman wrote:
Quote:
you're doing great!!! I wouldn't worry about the speed ... I have too much time on my hands, thus I read constantly.


Thanks, Nathan. I wished I could say this from me, that I´d have too much time on my hands. I have much too few time to do all the things I would like to do (to read and to play piano).
:cry:

I have read chapter 21:
First, I have a question. Thad translates "The play is the soul of the machine", wouldn´t it be better to translate: "The play is the soul of the action/the mechanique"?
Very interesting is the matter with that iron brace, which has to hold the pedal not rigid, but with a certain play, I haven´t known that. I wonder, why Thad does this montage himself and why Luc doesn´t care himself about this important matter. And it really is an important matter, because a piano isn´t to play, if always the tones are lingering on, (as we could see, as Claire visited Thad for to play her "Forest scenes" by Robert Schumann).
It´s interesting IMO, how Carhart combines technical, musical and personal issues around the piano as main subject. That makes that special atmosphere and charm of this novel, which I find to be intriguing. And with personal issues I mean not only Thads personal life and history around the piano, but also the destinies of other persons, like Jos f.ex. It´s so sad and oppressive, what happened to him, isn´t it? I really hope for a happy end concerning his bad luck, he has to experience in his life.

What about you, Monica and Nathan, how far have you read until now?
I looked into the contents, there are still 34 pages and three chapters to read for me now.

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Last edited by musicusblau on Mon May 04, 2009 8:09 pm, edited 2 times in total.

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PostPosted: Mon May 04, 2009 1:01 pm 
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Ok, I just finished chapter 21.

I think the phrase, "play is the sole of the machine" is just a general term, meaning the 'whole' piano. I thought the action is the hammers and all the tiny little parts down below the strings that make up the hammer mechanism. Are dampers considered part of the action?

But in this case, the dampers are not working properly because of the pedal brace that Chad installed incorrectly. So I think this is what Luc is referring to. I didn't know about there having to be some play in those pedal rods, either. As soon as I get to my piano later today, I will check that out.

And yes, the piano tuner Jos has a hard life. I wonder if things will be better for him by the end of the book. Which is not far away. You're right Andreas - only three chapters to go. And they are pretty short. I'm having a rough time these days, lots of things going on at the same time, but I can still read. So Nathan and I will keep following your lead. Whenever you get to the next chapter is fine.

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PostPosted: Mon May 04, 2009 2:20 pm 
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I'm carrying book with me to doctor appt today ... girls have checkup. I hope I don't get piggy flu while I'm there!!! hehe

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PostPosted: Mon May 04, 2009 9:50 pm 
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Hi Monica and Nathan,
it was interesting to learn about the quality of the red spruce and wood in general for to build a fine piano in chapter 22. I personally have never played a Fazioli, but I´d like very much to play one. It´s great, that Thad could meat Fazioli personally and that he was allowed to play on the famous 308 model. I have played several Steinways and Bösendörfers until now, but never got the opportunity to play a Fazioli and I suppose, I probably never will get one.
I´ll look for the two books, which are mentioned in chapter 22: Larry Fine´s "The piano book" and David Crombie "Piano". I have to admit, that I haven´t a book, which contains only the piano and its mechanical aspects.
(BTW, Monica, I think the dampers are a part of the action, too, but I´ll ask my tuner next time, he is a piano-builder master craftsman.)

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PostPosted: Tue May 05, 2009 4:45 am 
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how cool would that be??!! to meet fazioli and have personal tour of his workshop!!

I really need to tour a piano factory ... never done that!

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PostPosted: Tue May 05, 2009 8:39 pm 
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Nathan and Andreas - I am out of time today so I can't comment on chapter 21. Plus there is a problem on the site so I can't always log on. Look for me tomorrow!

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PostPosted: Tue May 05, 2009 9:22 pm 
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O.k., Monica, today I also had no time to read. So I´ll read chapter 23 the next days or at the weekend perhaps. I´m very comprehensive, if you have no time to read as good mates should be for each other. ImageSo, we have all time in the world. :)

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PostPosted: Thu May 07, 2009 12:41 pm 
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Ok, just read chapter 22. Boy, do I ever want to try playing a Fazioli! They sound so amazing. There is a Fazioli dealer in the same building in Chicago where the Chicago Symphony Orchestra plays, but I have never been in it. I'm usually there on late Sunday afternoons, and I'm not sure the dealer is open at that time. But if one of you PS friends ever came to Chicago, I would definitely go there with you.

In our book, I found it funny that Paulo Fazioli picked up Thad from the train station, instead of a regular taxi cab. Thad is very lucky to have gotten to see the Fazioli factory. I did know that piano soundboards are made from Spruce wood. Steinways use a particular tree called a Sitka Spruce. I wonder if Red Spruces are that much better than Sitka spruces. But Paulo Fazioli must have thought that they were since he circled the globe in search of the best wood.

And Nathan, I've never been to a piano factory either, but you can look at video and pictures of the Steinway factory in New York. http://www.steinway.com/factory/


Ok, on to the Chapter 23. We're almost done!

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PostPosted: Thu May 07, 2009 8:45 pm 
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Hi, yippee,
I have finished the book. Let´s have a common drink and celebrate the long and nice period of common reading. Image

To chapter 23 +24: It´s very nice, that Luc finally found a girl-friend, with whom he is happy. I think, Mathilde and Luc fit very well together, because of their common passion to piano and music for piano. It´s so intriguing as the unknown pianist came and played the Scarlatti-sonata in the cold atelier. I really ask me, if this is realistic, because I never could play a fast piece fluently, if it is so cold. What do you think?
Also the story of Mathilde, how she has lost her piano, is fascinating somehow, because it shows, that a piano can be such a personal thing. She feels commited to her piano of youth, because it was the connection between her and her late father. And so the loss of the piano of her childhood in her psychic state got the meaning of a symbol of the loss of her dad.
These two last chapters have an obvious function of a framework. Some motifs and strands of the plot come to a final end here. First the story of Luc and his fate, second the story of Mathilde. As a motif there come together Lucs favored pianos: in chapter 23 we are told of the old Pleyel and the extraordinary matter, that Luc plans to liberate the black lacquering of the cabinet and wants to reproduce the pure wood and the particular sound of this old instrument from the twenties.
In the last chapter Thad recapulates all kinds of Lucs "dream pianos" and at last we see, that this was a very interesting and changeful lineup.
I´m missing the plot of Jos and his development. It´s the only person, who experiences a negative development in the novel, isn´t it?

Phew, I´m very happy, that finally I came through the whole book, which I never would have thought, when I began. I thank you, especially Monica, for the constant participation and exchange of thoughts, which I felt to be very interesting. To have read the book was a pure enrichment (because of its subject and because I could learn and refresh a lot of English, which I should speak and write a bit better now, so I hope at least). Your participation was always inspiring and a motivation to read further. (I´m not sure, if I would have read the whole book alone, without any person, who reads along.)
So, for me it stays to say: Image

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PostPosted: Fri May 08, 2009 1:18 pm 
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Yay, we did it! So here's my 'cheers' to you both! [img]http://www.smileyshut.com/smileys/new/free-party-smileys-773[1].gif[/img]

Nathan you must be done as well since you read a novel in a day. :)

Here are few of my thoughts on the last two chapters: That Pleyel grand sounded nice. I did not know that pianos could be made of this wood. And don't you wish you could have actually been there to see all these 'special' pianos? I'd like to know what becomes of some of the ones we 'met' in the book - see what their 'life' -so to speak- is like now.

And yes - I'm glad Luc has a girlfriend to share his passion for pianos. And you're right about that old man who came in and played that Scarlatti piece in the cold. I could never do that either, and that was a strange part in the story.

Then there is poor Jos. I guess we will never know what happened to him.

As for the end, when we learn about Mathilde's piano which she lost - my parents still have the grand piano that I played on while I was growing up. It sits in their living room with pretty framed photos of family sitting on the closed top (I don't do that with my own piano). My mom still plays it sometimes and has stacks of music sitting on the sides. However, I don't like to play it because it does not sound good anymore. I have become spoiled in a way since owning my own new grand which I have tuned every three months so it's always in tune and the action works well. But I do like looking at my parents grand and just like knowing that it is still around. I know I will be sad when the day comes that we have to take out the piano. Not sure anyone will even want it, so maybe it will become like what Luc did with some of his old pianos - fire wood. Oh, that makes me cry a little thinking of that. Shoot - now I'm in a sad mood.

Oh well, Andreas - I think it is wonderful that you read the book in a different language. Really! It would take me so long to do that if the book were in German. Thank you also for your thoughtful and interesting comments. But most of all for participating. I liked doing this very much with you and Nathan.

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PostPosted: Fri May 08, 2009 2:29 pm 
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This has been a blast reading with you guys!!!!! and yes, I finished at the doc's office, but didn't want to brag ... it seemed unseemly.

How nice for Luc to have apartner in life and soul. I love the ending ... "NEVER TOO MANY DREAM PIANOS" ... I don[t think a non-pianist can understand truly that statement. I think if every room in mhy house had a piano, I'd still look for more! hehe

speaking of ... don't cry Monica ... I'll take that grand off your hands!! :wink:

I just ordered fingers and a few other bks from amazon .... I'm ready fro next installment!!!!

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PostPosted: Fri May 08, 2009 6:40 pm 
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nathanscoleman wrote:

speaking of ... don't cry Monica ... I'll take that grand off your hands!! :wink:


Well, I hope to you know how to practically re-build a piano. It's all in one piece, but the hammers are dead, the strings are old, the pedals are doing some weird things, etc... But you know, I think the keys are ivory - hmmmm- that didn't occur to me until just now. Wonder if it is possible to do a piano transplant - just like an organ transplant, right? haha - get it?

About our next book, Fingers. Ok I am in. I found it at my local library again, but like you already know, it's on Amazon for only about $7.00. Andreas, do you want to do another book club? Nathan, do you think we should start a new topic, just in case other members want to get in? And let me know when you want to get started.

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PostPosted: Fri May 08, 2009 11:08 pm 
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I just ordered fingers ... but it hasn't come in yet. Maybe if we do a book club redux thread???

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