Fazioli auto-claims to be the best piano ever made, and one of its characteristics is "Italian bel canto". but clearly it sounds dry compared to playing super legato on a Steinway. it would be much more interesting if Fazioli claimed what kind of sound it really has, instead of generical affirmations like "power" (in fact, strident timbre), clarity (in fact, poor in resonance), pure timbre (in fact, tinny timbre) and other marketing-driven affirmations. It would help for the real acceptance of this piano in long term, for whatever it really is, not a romantic idealization.
why not play it for yourself then decided? because regardless of the brand, if it doesn't resonate with the musician playing it, it's a chop in the musician's eyes no matter the company claims.
You sound like a Traditional Hater Steinwaysexual type of critic. Italian bel canto is naturally Bright bordering to Strident because of Italian opera roots and the soundboard wood is the same that Stradivarius and Bechstein uses. I just don’t know where you got the “poor resonance” comment from as it is probably the best Concerto piano. Get out of your comfort zone, you’re stuck in your old fashioned sense of tone.
@@bechsteinwaypetrofazioli3885 Fazioli's don't play smooth legato. the sound is extremely dry, on purpose. that's why it is simply a product of great marketing. the difficulty of building a colourful piano is making the attack smooth, the timbre large/rich/complex, with great projection and enormous variety of mood. a weak, strident timbre, with sharp attack is what romantics were avoiding, it was what fortepiano sounded like. dozens of pianos sound this way: Bechstein, Bosendorfer, Petrof, Steingraeber, Estonia, Yamaha, Feurich Vienna, Baldwin, Grotrian. these are good pianos when we don't very mucn better available. very few pianos sound smooth and complex: Steinway, Mason&Hamlin, Blûthner.
Fantastico !!!
Superb 😃😍💖
Fazioli auto-claims to be the best piano ever made, and one of its characteristics is "Italian bel canto". but clearly it sounds dry compared to playing super legato on a Steinway. it would be much more interesting if Fazioli claimed what kind of sound it really has, instead of generical affirmations like "power" (in fact, strident timbre), clarity (in fact, poor in resonance), pure timbre (in fact, tinny timbre) and other marketing-driven affirmations. It would help for the real acceptance of this piano in long term, for whatever it really is, not a romantic idealization.
why not play it for yourself then decided? because regardless of the brand, if it doesn't resonate with the musician playing it, it's a chop in the musician's eyes no matter the company claims.
Have you ever played a Fazioli piano?
@@zenvirgil yes
You sound like a Traditional Hater Steinwaysexual type of critic. Italian bel canto is naturally Bright bordering to Strident because of Italian opera roots and the soundboard wood is the same that Stradivarius and Bechstein uses. I just don’t know where you got the “poor resonance” comment from as it is probably the best Concerto piano. Get out of your comfort zone, you’re stuck in your old fashioned sense of tone.
@@bechsteinwaypetrofazioli3885 Fazioli's don't play smooth legato. the sound is extremely dry, on purpose. that's why it is simply a product of great marketing. the difficulty of building a colourful piano is making the attack smooth, the timbre large/rich/complex, with great projection and enormous variety of mood. a weak, strident timbre, with sharp attack is what romantics were avoiding, it was what fortepiano sounded like. dozens of pianos sound this way: Bechstein, Bosendorfer, Petrof, Steingraeber, Estonia, Yamaha, Feurich Vienna, Baldwin, Grotrian. these are good pianos when we don't very mucn better available. very few pianos sound smooth and complex: Steinway, Mason&Hamlin, Blûthner.