[canibanoglu]

The jump from the harpsichord to piano was a huge one but the key profile didn't change as much as this. Integrating new technologies with instruments is all good and dandy but we're now fabricating the sounds with computers. We're changing the way these instruments function and we're changing the way we interact with them.

My concerns may be similar to those of 18th century people but the changes that we're experiencing now are not similar to the changes they experienced. We don't have the technology to replicate the acoustic sound of a piano. And I quite honestly don't see this being used to perform classical music. I'm not talking about all the stuff (mind you, I'm very partial to calling these music) that's being "composed" these days, I'm talking about the music up to the 1950s.

I'd like to touch on another aspect of your post, you say that you want modulation and polyphonic aftertouch when you play the piano. And you say that it's the music that lives on. For classical music, the music is the composer's, s/he composed the music with the limitations of his/her era and re-interpreting their music with new technologies in ways they didn't even imagine. This is not making their music live on as far as I'm concerned.

Basically my point is that, considering that I only play classical music, I don't see a use for this. It's good to read about it but I don't think that this will ever be used for classical music performance. And no, I don't mean the odd youtube videos here and there, I mean used for performance by concert pianists.

I believe I'm entitled to my opinion about this. It's a cool piece of tech but it's just that. The fact that Jordan Rudess from DT endorses this doesn't mean anything to me. He's not a classical music performer (although he has been educated as one) and this may be good for his uses. I'll be amazed if Martha Argerich or Maurizio Pollini say that they will use this product.

And just a little note, and I know this can sound like I'm attacking you but I'm not, I'm just trying to share a bit of information. The pieces in The Well-Tempered Clavier are not "songs" per se, they are individual pieces. Song is another form in classical music and employs the use of human voice.

[guelo]

I'm not a musician, and I don't like going around the internet calling people names, but I'm sorry, you come off as stodgy. From reading your comments and watching a couple of Jordan Rudess videos I'm pretty sure that I'd rather watch him playing than you. Just saying.

[canibanoglu]

That was far from my intent to be honest. Between me and Jordan Rudess, I'd rather watch him as well. But between Jordan Rudess and Martha Argerich I'd watch her playing. This is just another form of labelling stuff. Just because a well known and talented performer is backing something doesn't mean it's going to be useful. Then again my comment was only concerned with how this relates to classical music.

[klodolph]

> For classical music, the music is the composer's, s/he composed the music with the limitations of his/her era and re-interpreting their music with new technologies in ways they didn't even imagine. This is not making their music live on as far as I'm concerned.

You're drawing a line in the sand, and saying that technological changes are okay for classical music as long as they don't cross that line, but I'm not sure you realize exactly where that line is drawn. Have you ever played Bach or Beethoven? You might be shocked to learn just how different the modern piano is from the devices that these composers worked with.

Bach composed within the limitations of the harpsichord: harpsichords lack modulation of timbre and volume, except perhaps with an una corda pedal or by use of a separate manual, both of which are extremely crude methods. It is neither practical nor desirable to emulate this on the piano: the piano is capable of dynamics, and so we play Bach's pieces by inventing dynamics for them. (I'm not going to discuss trills, talk to a musicologist if you like.)

Beethoven composed within the limitations of the piano, as it was around the year 1800. You might find such an instrument for sale somewhere, but I doubt it. The piano action has not changed, but the instrument has still evolved considerably from a musical standpoint. I am speaking, of course, of the sustain pedal. Sustain pedal technique is an essential part of classical pianists' training, but it is not historically accurate for classical pieces. Old pianos did not have nearly as much sustain as even cheap modern pianos, and it turns out that pianists in the day would just hold the sustain pedal down. Imagine what that would sound like on a modern piano: a muddy mess of notes.

Just as keyboard dynamics were not part of the music of Bach's era, sustain pedal technique was not part of the music of Beethoven's era. You'll find similar discrepancies with other instruments, such as the enormous difference between modern violin bows, which are of Italian descent, and baroque German violin bows.

Then there's the question for some keyboard pieces of what instrument they were actually written for. There are theories that certain organ pieces were actually clavinet pieces, for example.

Footnote: Yes, Beethoven and Bach composed for other instruments too.

> We don't have the technology to replicate the acoustic sound of a piano.

That's simply incorrect: the keyboard instruments are the easiest to replicate. Go listen to some samples from Synthogy's website, for example. The problem of "how do we make a computer sound like a piano" has been solved for quite some time now.

[canibanoglu]

As a matter of fact I have indeed played Bach and Beethoven among others. Currently, I'm working on the 21st piano sonata of Beethoven for a performance. The example you have given is very accurate, in the 14th piano sonata, Moonlight Sonata as it's affectionately known, Beethoven instructs the performer to hold down the pedal for the whole duration of the first movement. That simply won't work on modern pianos. What do we do now? We try to replicate the sounds Beethoven himself would have gotten from his own piano. There are books written about pedal techniques.

And I worded that wrong. Technology is and should be a part of classical music performances. I just don't see the relevance of this product from a classical music standpoint.

And I did look at Synthogy's website. They have a good product but if you're saying that that product does replicate the sound of a real grand piano, we have to agree to disagree. They have solved some good problems, like half-pedaling. Harmonic resonance modeling is impressive. But in I can't say that these replicate the sound of a true acoustic 100%.

Small note: Dynamics were part of Bach's era. Bach himself was a very talented organ player and there are dynamics in organs. Piano is a descendant of harpsichord, true, but it's also a descendant of organ.

And as I said in my other comments, this is getting pretty off-topic and I don't want to derail the thread. I'll be more than happy to discuss this with you klodolph through mail or whatever.