I have read about Horowitz and Gould adjusting their pianos a certain way. Going great lengths to have them just right. My question is what excatly did they do? And how much trouble was it to do?

Thanks

Mike

The technicians for these artists are still with us.
At the next national PTG conference in Kansas City Franz Mohr (Horowitz) will be there and you can buy his book in June.
You can always email Ted Sambell in Canada (Gould) and he is always pleased to share information.
You can probably locate him through the PTG home office.

I think Mohr tuned for Gould as well, did he not?

Would you give me a link to the PTG homepage please?

Thank you very much for the reply

Mike

Mohr worked with Horowitz, Cliburn, Rubinstein, Gilels and Gould.

Well, I have e-mailed Mr Sambell twice about how Gould wanted his piano adjusted. I tried to be very polite and everything, but he wasn't too pleased to share information.

I searched the PTG archive a few years ago and found out that Horowitz liked very close letoff, drop and check. Very late dampers; the dampers started to lift when the jacks made contact with the letoff buttons. He wanted the hammers to be small, light and hard, in order to keep the down weight at 44 g and the percussive sound that he is known for.

According to one post at the PTG forum he had very strong repetition springs, another claimed the opposite.

Well, I have e-mailed Mr Sambell twice about how Gould wanted his piano adjusted. I tried to be very polite and everything, but he wasn't too pleased to share information.
_________________________________________________

Maybe I should not speak publicly for Mr Sambell. My personal experience with him was quite the opposite.

I heard directly from Mr. Sambell the Gould used a 1/4" keydip, and I assume corresponding reduction in hammer blow and other adjustments to make it work. He needed a more technical on/off style of touch and did not require a great dynamic range.