These three piano's (Cliburn's, Horowitz's, and the Gerswhin memorial) were on display for public use today at my music school:
Legendary Pianos Tour

The piano's were amazing, just in technical terms (nevermind the nostalgia factor ). I've never been able to breeze so freely through arpeggios and create such a huge sound as on the Horowitz piano. I played Brahms Intermezzo Op. 118 No. 2 on the Cliburn piano and it was a magical experience. I've never heard myself produce such a beautiful sound before. It's amazing how much more you can concentrate on channeling emotion into the music when the sound is so much easier to create.

I went after my lesson as well, which is later in the evening so only a few people were around, and I was able to play for quite a nice piece of time. I didn't want to stop, but then another player came in.

I'm still trying to get over the feeling that I just played on the same piano that Horowitz played in front of thousands of people; in fact, I'm pretty sure that this was the same piano he played in his return to Russia tour (would this be the same piano as is featured on the "Horowitz in Moscow" dvd?)

Incredible.

Nice... I once played on a piano owned by Ashkenazy and it was a wonderful experience. I played (among other things), the Brahms g minor rhapsody and the depth of sound I could get out of that instrument was simply incredible.

That is so cool. Which of the three did you prefer and why?

I too have played this trio of pianos. I prefered the Horowitz piano (despite its very scratched fallboard) because of its powerful sound (the bass was heartstopping) and its light action. I found the Van Cliburn piano to be a bit heavy and the Gershwin piano was beyond heavy and a little out there for me. However, I enjoyed all of them.

That same steinway tour comes through here every year. Even though I've gone to it lik 3 years in a row, I always love going. Those pianos are incredible! The Horowitz has an extremely light touch though.

Yes, I've played all three as well but found myself drawn most to the Horowitz piano, not only for its history (yes, it's the one he took to Russia) but its touch and sonority are incredible. It was a moving experience to play "Traumerei" on this piano.

Sophia

wow. that must have been amazing!

Yes, I too preferred the Horowitz for the same reasons. I found it so easy to play, and so easy to create such magnificent sound (both in terms of volume and tone quality...the perfect Horowitz piano..hehe). When I was at the piano I was trying to think of pieces to play, and I somehow forgot about the Rahcmaninov G minor prelude which I just finished learning (Rachmaninov and Horowitz go hand in hand!!). I played Prokofiev's Suggestion Diabolique though, and that was quite the experience. I had trouble containing the initial rumbles which are supposed to be played piano, and when the climax(s) finally came around the piano was just roaring. (still giddy)

The Cliburn piano was wonderfully suited for Brahms though; very heavy both in tone and touch. It just wasn't as free flowing as the Horowitz; a close second though for sure.

The best part about the Gershwin was the bench! You just sank in, oh so very comfortable. :p I played Joplin's Maple leaf Rag on this one, but it was nothing that special. I think this one was more for looks.

I played all three pianos a few years ago when they came in with that tour to my city. I actually preferred the action on Cliburn's piano the best. I thought the Horowitz was good but a little too light of an action for me. I played the Scriabin D# minor Etude on the Cliburn piano and that was by far the best I ever played it. I went with my studio on a little field trip and since there weren't other people around for a while, we had a mini studio class and all played something for each other. It was a lot of fun.

Very nice, to play on such beautiful sounding pianos ..

And now for wonderful contrast i invite you to hear my piano (the now-famous in the boards) in this recording

http://www.savefile.com/files.php?fid=1082270

I've not played these pianos, but most of you who have are saying your performances are considerably improved on these instruments. Assuming you are not just being inspired by the historical connection with these artists through their instruments, the conclusion we must take from this is that the piano itself is an enormous contributor to the the musical interpretation and technical achievement of the person playing. That's a pretty shocking conclusion, because it means millions of amateurs are being held back on their potential because they are playing on inferior pianos.

I think someone's technique is what it is - however I think on some of these instruments it is easier to get a beautiful sound out of them than on other instruments. When I played Ashkenazy's piano I probably played as well as I usually did at the time, but the sounds coming out of the instrument were much nicer than on my instrument.

I mentioned it in another thread, but the piano I grew up with was a clunker, but I don't think that held me back. If anything it helped me learn how to coax a beautiful sound out of a bad instrument - so when I got the opportunity to play a great instrument, it seemed a lot easier.

While I think the instrument you work on may have some influence over your abilities, ultimately it's the pianist and not the piano that runs the show...

What were the makes of the pianos? I know Horowitz's was a Steinway.

That sounds like it was so cool. Giddy ain't the word.

Sadly I missed the tour and concert series Steinway had at Symphony Hall a few years ago. They came in February or March, and not only was it dreadfully cold, but I also had the flu and was bed ridden. I contemplated going in, but the near zero temperatures kept me inside.

John

Skriabin,
They are all Steinways. The Horowitz and Van Cliburn are D's and the Gershwin (at least the one I played) was a B.

Sophia

By total coincidence I just had an excellent technician at my house (in the UK) who had worked on the Horowitz piano when Horowitz was playing it.

He said that Horowitz liked to have a lot of dope on the hammer felts that made the piano sound very brittle to his ear. He (the technician) did not like it at all, although he is clearly a Steinway purist.

Kind regards

Adrian