Kevin Sutton replies to my question whether today's instruments --
especially Steinways -- are more percussive and "brilliant" than the
previous generation of instruments

>>I think that the reason for the brightness of modern pianos lays more in
>>the kinds of harder and better manufactured materials that go into the
>>hammers.  Surely the difference lies in the better quality manufacturing
>>machinery available today.

I'm not sure that the answer lies in better quality manufacturing.
It may be there is a preference today by the manufacturers, pianists,
recording companies etc.  for a brighter, more percussive sound.  I've
heard pianists who achieve a lovely legato tone on a modern Steinway,
but that's rare and (as I'm no pianist) I think they are fighting the
instrument rather partnering with it in these moments.  I would love to
hear a concerto or whole piano recital that uses a concert grand from half
a century ago and see how this works with some standard repertoire pieces.
In the right hands this could be an elighteneing and pleasurable musical
adventure.

Maybe it's part of the age.  Compare the bellowing three tenors with the
leading ones of yesteryear - Bjoerling, Bergonzi, Gigli didn't have to yell
in order to make their musical and vocal marks.  Are classical artists
simply following their rock counterparts (superstars) into in-your-face
tactics to get noticed? Today's "hot" aria is "Nessun Dorma" -- None shall
sleep.  I'd rather be cajoled.  Mozart's Don Giovanni knew that subtlety
was his most effective weapon.  How could Zerlina resist "La cidarem la
mano?"

Eric Kisch