the traditional part of the piano in a concerto.
To avoid this role-reinforcing part and looking for new ways to
colour the relation between the piano and the orchestra, the composer
is confronted with things that are not possible using the piano:
making a crescendo within a single note: a note which is sounded
and which thereupon grows in vollume.
This was the inspiration for a concerto for piano. The crescendo,
following the first note, is realised by six horns, which take
over the tone of the piano and so in this way replace the soundboard
of the piano.
This idea of soundboard replacing is taken over by the whole orchestra
in a next stage.
The use of the piano as a rhythm instrument is not avoided, except
in the more contemplating middle part.
In the Piano concerto a principle can be found: the exploration
and crossing of borders.
This is even made visual at the end of the concerto when the last
tone a c is tuned into an f sharp with a tuning hammer.
The tension builds up by this stretching of the string and the
perception of the music is culminates into a very sudden ending
of the concerto with a single ‘whiplash’
write down even more variations in their score than even the piano
or grand piano can offer.
In such cases a lot of adjustments have to be made into the instrument,
such as the placing of screws, clothes pegs and pieces of rubber
on strategical places in between the strings.
Sometimes the sound is made by hitting the strings with sticks
instead of hitting the keyboard, or by strumming the strings by
hand like on a guitar or harp.
The tuner or piano technician watches this with mixed feelings&hellip
zum Lehrbuch des Pianofortebaues. Verlag E.Bochinsky, Frankfurt/Main.