We can also add a PianoDisc CD Player System to any piano from us at a drastically reduced price. We look forward to helping you with your piano purchases. Tarzana, CA 91356 Phone: 80 Phone: 81 We are located in the San Fernando Valley just north of Los Angeles. Address: Knauer Pianos 19301 Ventura Blvd.
1919 mason and hamlin model a full#
We will provide a full refund of your purchase price(minus shipping costs) Does not apply to pianos that were customized i.e. 1 year on the player system* we guarantee your piano to arrive in the condition stated in this ad* if not completely satisfied with your piano within 14 days of receiving it.
more OUR SATISFACTION GUARANTEE TO YOU* 5 year warranty on all major components. Our technicians go through each piano to make sure that they are in top condition. And can get a price quote for you quickly if you would like. We provide inexpensive shipping local and nationwide. The Knauer family is from Hamburg Germany and the family store there provides a great resource for fine European pianos. The founder of Knauer Pianos, is a 2 nd generation piano technician and stands behind every piano we sell. That is why piano buyers from all over the country choose us. We are dedicated to providing the highest quality pianos at the most affordable prices. Knauer Pianos has been offering fine pianos to professionals and beginners for over 30 years.
1919 mason and hamlin model a professional#
Professional quality responsive touch and Exquisite tone. Volume 1 was played on a Steinway, while Volume 2 was played on a 1919 Mason and Hamlin concert grand, rebuilt by William Schneider of Michigan State University.Vintage Mason& Hamlin AA Vintage Satin Mahogany 6'2" Grand. Interestingly, the instruments are different from one disc to the next. There's no point in pianists performing this music if they cannot make it into an ethereal, spiritual experience, and Ohlsson succeeds better than most in making this sonata the transcendent experience that it should be.īoth discs have been produced, engineered, and edited by Adam Abeshouse. Here, Ohlsson's technique serves him particularly well even at a whisper of sound, his playing has color and is remarkably even. Sonata #32 is distinguished by a glorious reading of the second movement, particularly in the latter portion, where with murmurs and trills, Beethoven makes the theme ascend into the stratosphere. If the movement, as a whole, lacks the excitement that some other pianists have brought to it, Ohlsson is not dull, and the cleanness of his playing has its own rewards. In the final movement, depicting the return of Beethoven's friend and patron, Archduke Rudolph, Ohlsson allows Beethoven a moment of overexcitement, turning the score's slurred pairs of 16 th notes into something closer to pairs of a grace note and an 8 th note. The middle movement also is played slowly, and with unexaggerated pathos. Ohlsson starts the opening Adagio of the "Lebewohl" (or "Les Adieux") sonata unusually slowly, but by the time he reaches the Allegro he is at a fairly standard tempo, with clear articulation and a controlled sense of drama. Regardless, this is a performance that captures all of the young Beethoven's changing moods, from humor (both gentle and roughhousing), charm, and tenderness, to imperiousness and sudden fits of temper. I'm not sure why he elected not to do the exposition repeat in the first movement of Sonata #2, particularly because he doesn't make such a decision elsewhere, and the movement's (and sonata's) structure would seem to call for it. Third and most of all, however, is Ohlsson's solid musicianship, which is nine parts responsibility and one part surprise.
Second of all, Harris Goldsmith's erudite booklet notes have something interesting to say even to listeners who have known these sonatas for decades. First of all, the repertoire is more interesting. Of these two discs, Volume 2 (Bridge 9201) probably is the place to start. The listener is made comfortable, knowing that he or she is in good hands, but is not bored. Ohlsson's Beethoven, while not really unusual, still has merit because of the things that he does that make these performances his… an unexpected tempo here, an intriguing bit of phrasing there, and so on. Beethoven sonata cycles, starting with Schnabel, are not rare, after all. When any pianist starts such a project, it is fair to ask what he or she will bring to this repertoire that has not been said already. Given the quality of these two releases (labeled Volume 1 and 2), I hope that this is a project he will take to its completion with Bridge Records. Garrick Ohlsson, who won the Chopin International Piano Competition in 1970, has recorded the better part of that composer's piano works twice, but as far as I know, he has not recorded Beethoven's complete piano sonatas, although he seems to have been on the road to doing so at different points in his career.
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