The bass notes sound like thunder rumbling...maybe Schubert intended this, maybe not, but that is how mid Nineteenth century pianos' bass notes often sound, and it really adds to the atmosphere. The right hand is light and the left hand is dark, adding creating contrasting moods. Doesn't sound like this on modern pianos!
Another factor why Bass Notes on those Period-Keyboards sounded much Darker was.......the Tuning.... Piano Instruments and even whole Orchestral Ensembles were Tuned in much Lower-Pitches, according to the kind of Instrument,Brands, and particular Preferences of the Players Themselves, A 440 ,was not used in those Days.........
My most favorite music video of Schubert on you tube so far! played so well on such wonderful instrument. Tsalka is giving his best here in this performance. Fantastic tempo, wonderful dramatic gestures heard for the first time for this very piece which is mostly played too slow by others even on the fortepiano!
Typically, Viennese fortepianos of this era were tuned in well-temperament (e.g., Kirnberger), NOT equal temperament. But, I can’t say exactly what temperament Mr. Tsalka is using here.
Well-tempered tuning produces key characteristics (due to the unequally sized intervals). Composers knew about and exploited these key characteristics, but they are completely lost in equal temperament.
To learn more about well-tempered tuning on fortepianos, check out this short video: ua-cam.com/video/P0Y7yWltd-Y/v-deo.html
THAT IS SURE DIFFERENT THAN TODAY'S PIANOS, AND SURE SOUNDS LIKE ANOTHER WORLD, ANOTHER TIME, NOT SURE IF THE DEVICE ISN'T A TIME MACHINE, AND NOT A PIANO AT ALL..........
I SEE YOU AS WELL HAVE HIT THE CAPS LOCK KEY.............. I PRESSED IT SEVEN YEARS AGO,,,,, AND HAVE NO IDEA HOW TO TURN IT OFF!!!!!!!!!!!!! BE WARNED,,,,,, ONCE YOU CAPS LOCK,,,,,,,,,,, YOU CAN NEVER GO BACK!!!1!11!!!ONE!!!
@@peteklat From a technical standpoint, a Steinway with a gilded iron frame, double escapement and voluminous sound will always be better. These Graf pianos (like early 19th century fortepianos) also have a wooden bridge, which with time deteriorates gradually and it becomes impossible to tune them. Andreas Staier recorded Schubert’s late three sonatas on an original and the piano is in audibly bad shape and the sound is uneven, no matter how much they tried to restore it. For Schubert and late-Beethoven with their early romantic phrasing sensibilities, I think that certain stylistic details that’s featured in their compositions become more axiomatic on a piano like this with a Viennese action and parallel stringing - like the execution of meticulous phrasing slurs, the thick low range texture which can sound more pungent here, as well as a generally more pronounced mid-range as opposed to a more jangly one on a Steinway. Malcolm Bilson talks about it in his lectures. It has a rather muddled sound with the upper range, but it’s part of its charm in a way. I'd really like to own an 1826 Graf with a double modulator and bassoon stop one day to play some of those ole' Schubert sonatas.
I have played this on a Graf piano made around the same time - actually a bit earlier in 1829-1830 at the Frederick Collection in Ashburnham, MASee this here: www.frederickcollection.org It's quite the place to visit! You can sample pianos from 1790/95 to 1923 like sampling chocolate truffles from a sampler.
The bass notes sound like thunder rumbling...maybe Schubert intended this, maybe not, but that is how mid Nineteenth century pianos' bass notes often sound, and it really adds to the atmosphere. The right hand is light and the left hand is dark, adding creating contrasting moods. Doesn't sound like this on modern pianos!
Another factor why Bass Notes on those Period-Keyboards sounded much Darker was.......the Tuning.... Piano Instruments and even whole Orchestral Ensembles were Tuned in much Lower-Pitches, according to the kind of Instrument,Brands, and particular Preferences of the Players Themselves, A 440 ,was not used in those Days.........
My most favorite music video of Schubert on you tube so far! played so well on such wonderful instrument. Tsalka is giving his best here in this performance. Fantastic tempo, wonderful dramatic gestures heard for the first time for this very piece which is mostly played too slow by others even on the fortepiano!
Mr. Tsalka is an incredible pianist. He plays with emotion and beauty. Will will listen and listen and wait for more.
Nothing to add but thanks to all who commented--and to all involved in the production of this experience--beyond words;
I've performed Vivaldi's double violin concerto in D minor with him, it was an amazing experience!
Beautiful sound! Very natural. Thumbs up !
Beautiful!
conrad graf i love this sond very dark
Got a question - what temperament is this tuned to? I love the sound of fortepianos and I'm always curious about this.
Equal Temperament.
@@solidsnake9332 You are not sure!
Typically, Viennese fortepianos of this era were tuned in well-temperament (e.g., Kirnberger), NOT equal temperament. But, I can’t say exactly what temperament Mr. Tsalka is using here.
Well-tempered tuning produces key characteristics (due to the unequally sized intervals). Composers knew about and exploited these key characteristics, but they are completely lost in equal temperament.
To learn more about well-tempered tuning on fortepianos, check out this short video: ua-cam.com/video/P0Y7yWltd-Y/v-deo.html
@@DanielAdamMaltz Could be some kind of well-temperament? Thank you! I'll definitely check it out.
Wow !
Indeed, brings a tear to the eye and tingles down the spine. Modern pianos don't quite capture the underlying menace and darkness in this piece.
Just G O R G E O U S !
Wow thanks!!
Magnífica interpretación y precioso piano.
is this an original graf?
Yes
THAT IS SURE DIFFERENT THAN TODAY'S PIANOS, AND SURE SOUNDS LIKE ANOTHER WORLD, ANOTHER TIME, NOT SURE IF THE DEVICE ISN'T A TIME MACHINE, AND NOT A PIANO AT ALL..........
I SEE YOU AS WELL HAVE HIT THE CAPS LOCK KEY.............. I PRESSED IT SEVEN YEARS AGO,,,,, AND HAVE NO IDEA HOW TO TURN IT OFF!!!!!!!!!!!!! BE WARNED,,,,,, ONCE YOU CAPS LOCK,,,,,,,,,,, YOU CAN NEVER GO BACK!!!1!11!!!ONE!!!
they don't make pianos like they used to. :'(
You are right! They make them much better.
@@peteklat From a technical standpoint, a Steinway with a gilded iron frame, double escapement and voluminous sound will always be better. These Graf pianos (like early 19th century fortepianos) also have a wooden bridge, which with time deteriorates gradually and it becomes impossible to tune them. Andreas Staier recorded Schubert’s late three sonatas on an original and the piano is in audibly bad shape and the sound is uneven, no matter how much they tried to restore it. For Schubert and late-Beethoven with their early romantic phrasing sensibilities, I think that certain stylistic details that’s featured in their compositions become more axiomatic on a piano like this with a Viennese action and parallel stringing - like the execution of meticulous phrasing slurs, the thick low range texture which can sound more pungent here, as well as a generally more pronounced mid-range as opposed to a more jangly one on a Steinway. Malcolm Bilson talks about it in his lectures. It has a rather muddled sound with the upper range, but it’s part of its charm in a way. I'd really like to own an 1826 Graf with a double modulator and bassoon stop one day to play some of those ole' Schubert sonatas.
I have played this on a Graf piano made around the same time - actually a bit earlier in 1829-1830 at the Frederick Collection in Ashburnham, MASee this here: www.frederickcollection.org
It's quite the place to visit! You can sample pianos from 1790/95 to 1923 like sampling chocolate truffles from a sampler.
che tristezza questi strumenti obsoleti che rovinano la musica!