I remember the day I said to Sheldon Smith, "I want an instrument that Arthur Rubinstein and Art Lande would be happy playing." It took Sheldon a year to find a worthy piano and then another year to rebuild the instrument that would eventually land at my home.
Sheldon Smith was a master piano technician who specialized in Steinway piano restoration. During the year he spent rebuilding my piano, he wouldn't allow me into his shop until it was completed. I remember the day I saw the piano for the first time very well.
Walking into his shop I was a little shocked at first. I had imagined the typical instrument with clean lines and shapes as you might see today. Instead, what I saw was an instrument with carefully cut circular patterns on its legs, a paisley-like wooden cutout music board, and matte black lacquer paint. I had never seen anything like it. As I turned to sit at the piano I noticed it only had 85 keys. My first thought was, "I waited 2 years and it's only got 85 keys - OH NOOOOOOOOOO!"
The instrument was built in 1885 and back then, pianos didn't go to 88 keys. Sheldon said "The reason for the additional 3 keys was to keep the tension on the upper strings so that the instrument would stay in tune. But this is a great instrument and doesn't need the extra help. Besides, the only classical pieces you might not be able to play were a couple written after 1925 or so."
When I sat and played it, the sound coming out was amazing. It became part of my body. Still this was a big investment for a 20 something year old to make so I contacted my teachers - Art Lande (jazz) and Jeanne Stark (classical). With confidence they both said, "If it sounds good and feels good, then missing the 3 keys at the top won't matter."
The piano arrived shortly afterwards to what is now my studio. I have never regretted buying that piano even though I don't play much myself any more. Maybe it's time to tinkle on the ivories again.
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