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	<title>Comments on: KZ concert report</title>
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	<link>http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/</link>
	<description>Music, opinion, life as a performing musician</description>
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		<title>By: Kenneth Woods- a view from the podium &#187; The violin may be sharp, but the piano is flat&#8230;</title>
		<link>http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/comment-page-1/#comment-46025</link>
		<dc:creator>Kenneth Woods- a view from the podium &#187; The violin may be sharp, but the piano is flat&#8230;</dc:creator>
		<pubDate>Mon, 16 Jun 2008 15:04:07 +0000</pubDate>
		<guid isPermaLink="false">http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/#comment-46025</guid>
		<description>[...] My recent posts on KZ and Franz Mohr have left me wanting to follow up with some of my own, rather inexpert, opinions on piano tuning. [...]</description>
		<content:encoded><![CDATA[<p>[...] My recent posts on KZ and Franz Mohr have left me wanting to follow up with some of my own, rather inexpert, opinions on piano tuning. [...]</p>
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		<title>By: Stephen N</title>
		<link>http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/comment-page-1/#comment-44823</link>
		<dc:creator>Stephen N</dc:creator>
		<pubDate>Tue, 27 May 2008 11:18:26 +0000</pubDate>
		<guid isPermaLink="false">http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/#comment-44823</guid>
		<description>He was fantastic in Basingstoke - a completely different approach to piano, audience and music compared to the two concerts I&#039;ve caught in UK in the last four or five years.

I heard him do Op111 in Basingstoke some years ago and this time was a more relaxed and measured (emotionally) interpretation but had a much deeper and longer lasting impression.  

Awesome stuff - he even started the Beethoven by joking with the audience about teh keyboard change!

He&#039;s certainly a class act - I&#039;m looking forward to hearing him in RFH tonight.  

By the by there are still tickets avaialbe for London, and Basingtsoke was perhaps only two thirds full - Sir John Eliot Gardiner was in the audience which I think says a lot, I wonder what he made of the Bach </description>
		<content:encoded><![CDATA[<p>He was fantastic in Basingstoke &#8211; a completely different approach to piano, audience and music compared to the two concerts I&#8217;ve caught in UK in the last four or five years.</p>
<p>I heard him do Op111 in Basingstoke some years ago and this time was a more relaxed and measured (emotionally) interpretation but had a much deeper and longer lasting impression.  </p>
<p>Awesome stuff &#8211; he even started the Beethoven by joking with the audience about teh keyboard change!</p>
<p>He&#8217;s certainly a class act &#8211; I&#8217;m looking forward to hearing him in RFH tonight.  </p>
<p>By the by there are still tickets avaialbe for London, and Basingtsoke was perhaps only two thirds full &#8211; Sir John Eliot Gardiner was in the audience which I think says a lot, I wonder what he made of the Bach</p>
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		<title>By: Composerbastard</title>
		<link>http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/comment-page-1/#comment-44713</link>
		<dc:creator>Composerbastard</dc:creator>
		<pubDate>Mon, 26 May 2008 03:06:06 +0000</pubDate>
		<guid isPermaLink="false">http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/#comment-44713</guid>
		<description>This is mind blowing.  I wonder how he takes into account environmental conditions as he prepares the piano for performance - e.g. humidity and temp changes as the audience and lights are added to the mix after he has &quot;set&quot; if for a performance that night.  e.g. the environmental dynamics that occur after he has &quot;tuned&quot; things for the evening?

And how does he measure each string individually??  One thing is to use an omnidirectional or shotgun mic, but positioning is so important that to get it right would be extremely difficult.</description>
		<content:encoded><![CDATA[<p>This is mind blowing.  I wonder how he takes into account environmental conditions as he prepares the piano for performance &#8211; e.g. humidity and temp changes as the audience and lights are added to the mix after he has &#8220;set&#8221; if for a performance that night.  e.g. the environmental dynamics that occur after he has &#8220;tuned&#8221; things for the evening?</p>
<p>And how does he measure each string individually??  One thing is to use an omnidirectional or shotgun mic, but positioning is so important that to get it right would be extremely difficult.</p>
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		<title>By: Kenneth Woods</title>
		<link>http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/comment-page-1/#comment-44642</link>
		<dc:creator>Kenneth Woods</dc:creator>
		<pubDate>Sat, 24 May 2008 21:16:49 +0000</pubDate>
		<guid isPermaLink="false">http://kennethwoods.net/blog1/2008/05/24/kz-concert-report/#comment-44642</guid>
		<description>By the way, I want to completely disclaim any intention of presenting carefully vetted exact technical details of KZs pianos or technologies- these are just personal remarks reflecting a number of informal, low-key conversations back stage (ie- shooting the shit). If I&#039;ve got anything wrong, appologies to readers and KZ.

KW</description>
		<content:encoded><![CDATA[<p>By the way, I want to completely disclaim any intention of presenting carefully vetted exact technical details of KZs pianos or technologies- these are just personal remarks reflecting a number of informal, low-key conversations back stage (ie- shooting the shit). If I&#8217;ve got anything wrong, appologies to readers and KZ.</p>
<p>KW</p>
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