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Brahms, Variations and Fugue on a Theme by Handel, Op. 24

Leon Fleisher, 1957
Very homogeneous, bright, intense sound with precise attack.

Beethoven, Sonata No.14 in C# minor, Op. 27 No. 2 (“Moonlight”)

Chopin, Nocturne in E-flat, Op. 9 No. 2

Artur Rubinstein, 1950s and early 1960s
Here is the lush, bell-like tone that Rubinstein used to great advantage. The midrange sound is round and mellow. These recordings were made at different times, but the pianos are voiced similarly.

Chopin, Ballade No. 1 in G minor, Op. 23

Vladimir Horowitz, 1968
Very bright, brilliant sound; homogeneous voicing, evenly bright from bass to treble.

Beethoven, Piano Sonata No.28 in A Major, Op.101

Claude Frank, 1970
Very sweet, round, colorful sound with rich, lute-like tenor section.

Chopin, Ballade No. 1 in G minor, Op. 23

Jorge Bolet, early 1980s
Very clean, crisp orchestral voicing with a lot of warmth in the midrange, typical of the European sound of the 1980s.

Scarlatti, Sonata in B minor, L. 33

Vladimir Horowitz, 1986
Very bright but very clean, articulated attack of the hammer.

Chopin, 24 Préludes, Op. 28

Martha Argerich, 1991
Big piano with particularly long sustain, voiced with a bell-like tone.

Chopin, Barcarolle in F-sharp Major, Op. 60

Vladimir Ashkenazy, 1999
Big piano with clearly orchestral sound. Warm tenor and bass with bell-like mid treble and very long sustain.

Brahms, Four Klavierstücke, Op. 119

Murray Perahia, 2010
Very clear, bright sound with lots of color, probably using traditional, lacquered hammers.

Schumann, Arabeske, Op. 18

Alexander Kobrin, 2013
Bright, big sound, but with lots of body in the colorful tone.

The Definitive Piano Buying Guide for

Buying New, Used, and Restored Acoustic Pianos and Digital Pianos

Spring 2014    Page W2

Spring 2014    Page W2

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