Name: シチカ｜ピアノ・ドキュメンタリー (SITKA | a piano documentary)
Uploaded: 2021-01-14T06:25:16.000Z
Duration: 29 min 24 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

過去形

A few months ago, when I received a call from Caroline Mousset who is the

Artistic Director of the concert series of The Phillips Collection

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it was very exciting because they had raised the funds with which to rebuild

their piano. So we were thrilled; we've been caring for this piano for about

10 years, and we knew that it really, really needed this

and so it was very exciting. It was even more exciting when I learned that it was

for the 75th anniversary of the concert series, and the 60th anniversary of

Glenn Gould's debut, and the incredible pianists that are going to be playing on this

piano that we now have the responsibility to restore in a really small amount of time.

Every piano has strengths and weaknesses; no piano is perfect.

This is The Phillips Collection, this is Washington, DC; it really had to be a

The first thing we do is we assess the instrument, so we check everything:

We check the hammers, we check the strings and we check the bridges, we check

the soundboard and the pin block and the structure of the piano.

One of our technicians you got up under the piano and he found underneath the

soundboard in the ribs of the instrument cracks in a very unusual

location, and this was affecting the energy of the soundboard.

This was the opportunity to really do something great, to make it a great

Steinway, to get that beautiful authentic Steinway sound and performance, and we

knew that it wasn't a matter of repairing the factory work, but actually

we had to replace the soundboard, and we had to replace the pin block, and we had

to put in new bridge caps and new strings.

There have been observations about that piano, that it was out of balance:

much, much louder in the bass section than in the treble section, and it was

not a matter of tuning or voicing, or basic fundamental work; it was actually a

Fortunately, we happen to have some beautiful, beautiful wood for the

soundboard of this piano from spruce trees between 600 and 800 years old, and so

that was exciting because we knew we had been seasoning this wood long enough

that it would give us a very predictable result; very beautiful, beautiful wood

and very stable. Of course, with the limited amount of time

everybody had to drop everything, put their focus on this piano;

we even had two of our expert bridge notchers working on the bridge at the same

time, one from one end, and one from the other, kind of notching the bridge and

What we want to start doing now is taking measurements that we use down the

road to basically get the plate back into place where we want it.

Those measurements will include string height measurements; right now I'm taking

One thing I noticed when I was looking at the height of the plate in the back

is that the plate is very low, which means the base of the plate is very

close to the soundboard. This is a very good thing when we're rebuilding a piano

because it allows us to increase the height of the plate in the back, which

will increase the thickness of the bridge cap, which we tend to find superior.

Now the next thing we're going to do is come up with the string heights; this

helps the action department adjust things like hammer blow, hammer strike

distance, without actually having the action inside the piano. You basically

accomplish this just by setting this dowel rod, and then measuring the height

of it, and this we try to get accurate down to a quarter of a millimeter.

The next thing we do is to determine that the scaling when we're done

with the piano is accurate as we measure the lengths of various strings across the piano.

One thousand three hundred and sixty-nine: that's the exact length of note 20.

Now as you can see we've already removed quite a few pieces of the piano.

The dampers have been taken out, the back action has been removed, all the case

parts are now gone, and now we're clear to start de-tensioning

Once that's done, we can actually take the plate out of the piano and start

This tool we're using is actually over a hundred twenty years old.

I found it in an old piano technician's workshop. He had retired, and asked us

if we wanted to come in and see what he had. I found this thing and it's actually

one of the more valuable finds, but it has decreased the time it takes to

Now we're going to remove the strings from the beckets of each pin. The next thing

we're actually going to do is we're going to further relieve tension on these

Now we can safely remove these without any tension on them.

All right, now all we have left are the pins.

So what we're doing here is we're taking some new German Steinway concert grand

They have to clear each other while the piano is being played, but more importantly

we have a certain goal in mind for the end hammer weight based on this

particular sound board system, and a lot of that information has been gathered by

measuring the weight of hammers on Steinway concert grands that have been

made over the last...literally more than a century, and what happens is you

come across one that sounds particularly good, and then you find that the

hammer weight on that particular piano is maybe surprising; and that allows us to

get a very predictable and very good result.

Everything that's holding the soundboard in has been removed, and we can

begin actually hammering the bottom of the soundboard out; it should pop, it should come

Once the board is out, we're actually going to semi-reconstruct the old board

in order to be able to use that as a template to construct the new board.

So, any pieces of ribs that have busted off or broken or are missing, we've got to find

them, we've got to re-attach them the best we can.

That way, when were measuring lengths and rib taper, we'll have the proper

One of the cool things about Steinway and their pianos is this back structure.

What we're seeing is specifically designed to keep the case from moving.

Everything about the way these beams are set up, the way they're placed, the way they're

they're designed to absorb motion from the case as it expands and contracts.

Serial numbers on most Steinways are found in several places on the action,

oftentimes on the bottom of legs, sometimes underneath the lyres.

字幕リスト動画再生

シチカ｜ピアノ・ドキュメンタリー (SITKA | a piano documentary)

basically

position

audience

properly