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I prefer very much the sound of a Steinway. Usually I hate stereotypes or monopolies, but the steinway has such an amazing sound! ...for me, much superior to that of that Yamaha...
A lot of them are complaining about the piano; it's dry. Plus the right pedal is a bit annoying. Carmen did an extraordinary job with all her repertoire. I expect her La Valse and Chopin 2nd sonata will be no less fantastic. Eric is great too. I'm looking forward to his 118! And everything else he'll play. I also predict Yuanfan to be a finalist. Other contenders will be Evelyn Mo and Chaeyoung Park. I haven't really listened to everyone yet, so can't comment on everyone, but the updates from competitors are really funny.
Working on: Rachmaninov concerto 3, Mozart K488, Beethoven Waldstein, Bach Goldberg Variations, Stravinsky Petrushka, Bach Art of the Fugue, Brahms 118, Rachmaninov op. 39 no. 6 (Red Riding Hood), Chopin etude op. 10 no. 1, Chopin nocturne op. 55 no. 2, Bach Prelude and Fugue in g# minor (Book 2)
A lot of them are complaining about the piano; it's dry.
Is it a CFX? If so, in general that piano seems to be considered quite sensational and has been used in competitions and concerts of the highest level. Of course, any specific piano of any make may have problems.
I wish they'd have an audience and allow applause in these competitions. Maybe the contestants would at least crack a smile if they added those two components. Virtually every of the ones I've watched looked utterly grim before, during, and after their performance.
At the Mannes IKIF competition they do have an audience but don't allow applause which I think is silly. My guess the main reason is time constraints but how much extra time can it add?
A lot of them are complaining about the piano; it's dry.
It is. I added reverb, too bad they can't.
Hardly surprising the sound is dry - the microphones are almost under the lid of the piano. No professional live classical piano recording is done so close. I made a recording for a piano showroom's website once with similarly positioned microphones, with the same dry sound: later that day, a concert pianist came to give a concert on the same piano. When he saw the positioning of the mics, he immediately asked them to be moved several feet further away.....
BTW, the piano is the Yamaha CFX.
I've been to several piano recitals where the BBC was broadcasting live, or recording for future broadcast. They used an omnidirectional microphone suspended from the ceiling about 10 feet away from, but pointing towards the piano, and about 15 feet above the floor.
A lot of them are complaining about the piano; it's dry.
It is. I added reverb, too bad they can't.
Hardly surprising the sound is dry - the microphones are almost under the lid of the piano.
I was under the impression it was some performers complaining. It wouldn't matter to them where the microphones were. It is so dry on my speakers it sounds like they are playing in a room made of felt and cork.
A lot of them are complaining about the piano; it's dry.
It is. I added reverb, too bad they can't.
Hardly surprising the sound is dry - the microphones are almost under the lid of the piano. No professional live classical piano recording is done so close. I made a recording for a piano showroom's website once with similarly positioned microphones, with the same dry sound: later that day, a concert pianist came to give a concert on the same piano. When he saw the positioning of the mics, he immediately asked them to be moved several feet further away.....
BTW, the piano is the Yamaha CFX.
I've been to several piano recitals where the BBC was broadcasting live, or recording for future broadcast. They used an omnidirectional microphone suspended from the ceiling about 10 feet away from, but pointing towards the piano, and about 15 feet above the floor.
I think it's highly unlikely that any negative adjective, including "dry", applies to the CFX. It's possible that this particular piano is dry, but I think it's more likely that any perceived negative tonal qualities are because of the mike placement or something else in the recording process. The CFX seems to an extremely well received piano by top professional pianists.
We've been enjoying it! The competition is local to us and I wish we could go watch the finals. One of the contestants we know indirectly as well. Amazing!
I wish they'd have an audience and allow applause in these competitions. Maybe the contestants would at least crack a smile if they added those two components. Virtually every of the ones I've watched looked utterly grim before, during, and after their performance.
Thanks to LisaC for opening the door to this remarkable webcast. I've only listened to Carmen Knoll's semifinal so far, and I'm mighty impressed. Her stage presence is that of an experienced concert artist -- not too flashy, but a very expressive face and close attention to what she's doing. Nothing like grim, though that may well be true of others.
And her playing is magnificent. I loved her Chopin 2nd sonata. Her ability to sustain a singing melodic line while keeping the bass notes alive is amazing, especially in softer passages. The octave technique in the scherzo was flawless, and its beautiful trio melody was beautifully shaped and nuanced. And her La Valse was every bit as impressive. I spent a lot of time last month following the Cliburn Competition, and this playing is easily good enough to have made the semifinals there. It's encouraging -- and depressing for us old duffers -- to hear such gorgeous music coming from one so young. Can't wait to hear more from these contestants.
