If a piano went suddenly out of tune in the middle of a concert it would pull everyone out of the music causing them to wince with anxiety.DC[/quote]
I know this is sort of irrelevant, but several years ago now, a concert pianist was doing a world tour. This is true.
Anyway, he'd got to somewhere in the Far East and went on stage to play the chosen repetoire. After a while, apparently because of the humidity in the hall, the piano was just right out of tune and the poor guy was obviously suffering. He suddenly just stopped playing and left the stage. Much to the surprise of the audience, he suddenly returns to the stage carrying a fire axe and then proceeds to chop up the piano (I think it was a Model D) in front of them. If he did that today in England, he'd probably win the Turner Prize for performance art. I just had to share that with you because Dave's quote just reminded me. I did a similar thing myself many years ago in a recording studio in London to a Mini Moog that just kept going out of tune, only I used a chair.
Great discussion here and I appreciate your thoughts. I particularly remember Nick Roegs Don't Look Now[b] score by Pino Donnagio that William mentions. That illustrates what I was clumsily trying to say to Ivan about orchestral templates etc. Less can sometimes be more and as Dave puts it, its not just about making sound.
I know this is sort of irrelevant, but several years ago now, a concert pianist was doing a world tour. This is true.
Anyway, he'd got to somewhere in the Far East and went on stage to play the chosen repetoire. After a while, apparently because of the humidity in the hall, the piano was just right out of tune and the poor guy was obviously suffering. He suddenly just stopped playing and left the stage. Much to the surprise of the audience, he suddenly returns to the stage carrying a fire axe and then proceeds to chop up the piano (I think it was a Model D) in front of them. If he did that today in England, he'd probably win the Turner Prize for performance art. I just had to share that with you because Dave's quote just reminded me. I did a similar thing myself many years ago in a recording studio in London to a Mini Moog that just kept going out of tune, only I used a chair.
Great discussion here and I appreciate your thoughts. I particularly remember Nick Roegs Don't Look Now[b] score by Pino Donnagio that William mentions. That illustrates what I was clumsily trying to say to Ivan about orchestral templates etc. Less can sometimes be more and as Dave puts it, its not just about making sound.