Section 3 – Gershwin video

In the following 3rd section [1m:08s – 2:03], Hunt plays the Stuart piano leading the music, with a different range of dynamics. An immediate change in the density of the lead piano texture is evident, when the melodic block chords are played at mezzo forte. The melodic chordal passage is ‘light’, very ‘clear’, less ‘percussive’, and with cantabile. A clarity of sound without the ‘fullness’ of the Steinway is heard in the Stuart lead. As the lead continues, a more extensive dynamic range of single note phrases is exhibited, ending in the extremely ‘bright’ notes played with fortissimo in the higher register.

In conclusion, the video extracts show the audience perceptual responses of ‘bright’ for the Stuart sound and ‘mellow’ ‘smooth’ ‘round’& ‘deep’ for the Steinway sound could be associated with the pitch register. In the video extract from concert No 1, the bass register of the Steinway sounded ‘brighter’, than Stuart, and the treble register of the Stuart sounded ‘brighter’ than Steinway. This general tonal description concurs with the findings of chapter 4.

Smaller hall perceptions of ‘bright’, ‘mellow’, ’round’, ‘deep’ – Solo Piano.

In concerts 3, 5 & 6, 69% of participants identified the Stuart sound to be ‘brighter’ than Steinway, and 64% of participants described the Steinway sound as more ‘mellow, round, smooth and deep’ than Stuart. Concerts 3 & 5 produced the largest percentage differences that concur with these overall perceptions. At concert No 3, 62% of participants answered qu. 4&5 describing the Stuart sound as ‘bright’ and 83% of the participants described the Stuart sound as sounding ‘brighter’ than Steinway in the written comments of qu. 4&5. At concert No 5, 76% of participants answered qu.4&5 that the Steinway sound was more ‘mellow & clear’ than Stuart.

In contrast to these perceptions, the written comments of concert No 3, saw 54% of participants commenting that the Stuart sound was more ‘mellow’, ‘round’, ‘smooth’ and ‘deep’ than Steinway in comments associated with questions other than qu. 4&5. At concert 5, 100% of the written comments described the Steinway sound as ‘brighter’ than Stuart. Similarly at concert 6, 62% of participants’ comments described the Stuart sound as more ‘mellow’, ‘smooth’, ‘round’ or ‘deep’ than Steinway. In the recording extracts below, albeit not high quality recordings, the contrasts of ‘brightness’ between the pianos sounds is lessened in the smaller venues, with Stuart sound of concerts 2, 3 & 5, sounding not as ‘bright’ as it does in the larger venues at concerts 1, 2, & 4.

The audio sound excerpts examined in the following pages are from concerts 3, 5 & 6. In some of these examples the Stuart sound could be described as sounding more ‘rounded’ in tone than the Steinway, supporting the written comments and evidences of chapter 4. The room noise on these recordings is a necessary part of the experience, because the microphones are placed within the audience area so the