27. September 2011

The Piano Sound Goblet

More than one blog entry could be filled with reasoning about questions of voicing and sound balance. As a basic idea, I like to think of piano sound as shaped like a goblet; a solid bass foundation, to support a freely flourishing melody, with harmonic voices filling in between:


Unfortunately, what you get to hear quite regularly is a cone-shaped sound; melody dominating toned-down middle voices, and next-to-inaudible bass lines (I do not object if you feel reminded of some cheap plastic beaker):


Just as a cone put on its end is an instable construction, a cone-shaped piano sound makes me feel uneasy; melody and harmony lack sufficient foundation to rest upon.

How important bass foundation is to every kind of music can be seen most drastically in examples quite far from piano music. In popular music, there is a style which is called Drum & Bass and in fact does not consist of much more than what the term implies; and still, it makes for complete music. Also in “classical” music, it may be noted that there is a number of outstanding compositions written for an orchestra consisting of violoncelli alone, but none for violins. Similarly, there is a vast literature for a cappella men’s voices, but comparatively little for women’s. And finally, much has been written for piano left hand, but (to my best knowledge) nothing for the right.

All this is I think due to the fact that music can easily live without the high sound register, even without melody, but that lack of a bass foundation can never fully be compensated. As for right-hand-only piano music, the problem seems to be that the right hand could reach the bass register only in a very uncomfortable position and would simply not be able to produce a full sound, whereas the left hand is uncomfortable in the high register where no strength is required.

It is interesting to note that in recording popular music it is common practice to level the singer’s voice down as far as possible so that it is only just audible over the accompanying instrumental arrangement. One reason is that a melody in high register need not be loud to be perceived.

Similarly, bass lines in piano music can be played surprisingly strong without jeopardising the melody’s dominance. And a solid bass foundation combined with clear but unobtrusive middle voices will leave to the pianist all freedom in carving out the melody, making full dynamical range accessible: Soft melody tones will not be drowned in misty harmony, forte and fortissimo melody will not seem exaggerated when balanced by supportive bass.

Especially long-duration bass notes have to be struck emphatically since the piano sound fades out by nature. A lightly struck bass note will vanish before the end of its duration, leaving the sound dangling in the air. A notorious example would be Liszt’s Consolation No 3 where one bass note usually carries a whole measure. Let us not discuss the blatant lack of taste in Lang Lang’s recording but concentrate on his handling the bass notes:



As a counterexample, take any of Horowitz’ recordings of this piece. And do not forget to admire Horowitz’ skill in not only giving substance and various colours to each of the bass notes but also to make these notes connect to living lines.

If you promise not to be too disappointed about the obvious shortcomings in my playing you may also listen to my own recording of the piece.

Put all recordings to the test and check whether bass notes are still audibly present at the end of their bars – as is required by Liszt’s text; he wrote semibreve notes, so the bass notes are to form a continuous line throughout the piece. In many places, Lang Lang’s playing quite suggests quavers linked to the middle voices instead.

Note also that a “goblet-shaped” sound does by no means involve compromising in clarity and transparency of the middle voices. Astonishingly, Lang Lang’s recording comes in last even in that respect.

(Admittedly, this Consolation may not be the best of all examples since there is this problem of bass notes tied over harmony changes (third to seventh bar, e. g.). Liszt himself recommended that these tied bass notes be struck anew just lightly each bar, but many pianists try to keep the bass notes using half-pedal devices.)

The cone-shaped sound was especially in favour around the middle of 20th century. Piano playing at that time appears to me in many aspects as an over-compensating reaction to 19th century’s show-off virtuosity. Triumphantly thundering bass notes were replaced by deliberately restrained sounds. Backhaus’ bass notes in the opening section of Schumann’s Fantasy are, except for the very first, mostly inaudible, while middle voices are at times displayed with a presence which does not correspond with their moderate musical weight:



Again, listen to contemporary Horowitz recordings to ascertain that the sound is not due to recording technology of the day.

While there is no denying that Wilhelm Backhaus was a truly great pianist, I must say that I am glad that habits have changed and piano sound has been turned from its head to stand on its feet again.