December 2018

Scottish Autumn Lunch Attendees

PTA Executive Council Member Nigel Polmear tuning at the Wigmore HallPhotographed by Sokol Priftaj, used with permission

2

3

Editorial — 4Practical Tuning Assessment Day — 4President Writes — 5Membership News — 6Steinway Standards — 8Tribute to Roger Tostevin — 11

Meet the Council — 13

Convention Classes, Sneak Peek — 14Scottish Autumn Lunch — 15

Bechstein Masterclass — 16

Visit to Kalisz — 19

Europiano Delegates Meeting — 21

European Data Protection Law — 23Heads and Levers, Tips and Woes — 24

Bechstein Masterclass — 27Training Days — 29

Letters to the Editor — 30Council Report — 34PTA Diary of Events — 35

The next deadline for PTA News is: Friday 25th January 2019.PTA News is the Newsletter of the Pianoforte Tuners’ Association. All views expressed are

those of the contributors, not necessarily reflecting those of the PTA or the editorial team.Please send items for publication to ‘The Editor’, preferably via email with photographs sent

separately from the text. Posted items can only be returned if accompanied by an SAE.Please obtain the necessary permission before submitting copyright items.

PTA News, 49 South Hamilton Street, KILMARNOCK KA1 2DTEmail: ptanews@pianotuner.org.uk

To advertise in PTA News, at very reasonable rates, please contact:Tania Staite, Tel: 020 8677 4422

Flat 8, Deepdene, 15 Streatham Common Northside, London SW16 3HQEmail: advertising@pianotuner.org.uk

CONTENTS

4

“With the changes to the Data Protection Law that came intoforce in May, I have included the PTA’s Privacy Policy documenton p.23. GDPR extends to photographs. Therefore if you intend tosend me photos for publication, please ensure that you have obtained consent fromeverybody in the photo for it to be used in this way otherwise I will not be able touse them.

“All views expressed are those of the contributors, not necessarily reflectingthose of the PTA or the Editorial team”. A disclaimer such as this at the front ofevery PTA Newsletter is standard practice and here it is for the PTA’s ownprotection. The PTA need not involve itself should any kind of squabble arisefrom something published within its Newsletter. Where someone disagrees withsomething in print the usual course of action would be to write a letter to theEditor in response and take issue with an author in this manner. Within the PTAMembers should be free to debate differences of opinion in a civilised manner,and when appropriate, finally should be able to “agree to disagree”. Letters to theEditor (p. 30) on this subject or others are welcome.

Adrian Carpenter has written an illustrated, personal article about tuning leverson p. 24. Due to space confinements the photos that show hand position on thedifferent length levers which accompany this article are on p. 32.

Starting on p. 8 we have a lovely article about the Steinway grands in theWigmore Hall, featuring EC Member, Nigel Polmear. The PTA would like tothank the Wigmore Hall Friends Office and in particular author Andrew Stewartand photographer Sokol Priftaj for generously allowing permission to include the

‘Steinway Standards’ article from ‘The Score’, the Summer 2018 edition of themagazine for the Friends of the Wigmore Hall.

Thank you to contributors Jane Taylor and Andrew Giller for their articlesabout the recent Bechstein Training Day at Jaques Samuel Pianos (pp 16, 27).More information about these valuable days can be found on p. 29.

Thank you to Annette Summers for arranging the Scottish Autumn Lunch thisyear and also to Douglas McBay for his write-up on p. 15; photographs from theday are on the front cover and pp. 6 and 7.

It is always sad to include any news of Members who are no longer with us.There is a touching personal tribute to Roger Tostevin from Martin Locke on p 11.

Brian Frost has written two reports about his trip to the Europiano DelegatesMeeting in Poland on behalf of the PTA and these can be found from p. 19.

We meet co-opted to Council PTA Apprentice Stephen Haynes on p. 13.Finally a reminder about the Training Assessment Day for Students andApprentices at Jaques Samuel Pianos on 27 January 2019. Please see p. 11 ofOctober 2018 PTAN for more details.

EDITORIALANNE BURTON

5

THE PRESIDENT WRITESBARRY CARADINE

This past month has been one I would prefer to forget.I do not like being placed in a no-win situation (especially ifcaused by the actions of others) in which, no matter how hard you try, someoneis going to be upset or feel offended. This month there was not one but two suchsituations. Long-term it has to be the PTA that has to be the winner no matterthe consequences and any short-term pain these difficult decisions may cause.The PTA must end up stronger and better as a result.

One of these situations means that the PTA has to, yet again, go back andre-design the website. This is a tremendous amount of work and it all has to bedone in about four months. To try to accomplish this, a subcommittee has beenset up and we welcome anyone who feels they have the necessary skills to helpus achieve our goal. I know there are a few ex IT people out there amongst ourranks and I urge you to give us a few months’ help, so that this time, we canmake the right decisions and select the right company to build and run ourwebsite. Please contact Annette if you feel you can help.

Help; such a small word, but I seem to spend a lot of my time asking for it.A few have offered (for which I am very grateful) but most have not. I have tosay that one of my biggest concerns for our Association’s survival is that the feware too few. Many of our long-time volunteers, those who have given so muchfor so many years, have quite rightly stepped back to leave the running of ourAssociation to a new generation. But this new generation is not responding andstepping up to the wicket as so many others have done in the past. I thereforeurge all of you, yet again, to volunteer for a subcommittee or to stand onCouncil to ensure the long term future of our Association and to help us growfor the benefit of all.

As 2018 draws to a close it is common to reflect upon the highs and the lowsof the year that is all too rapidly rushing to its conclusion. The lows — all thathas happened this past month and the feeling that no matter how hard you try weare never achieving enough. The highs — a large and positive response to ourMembership Survey, a very successful Convention in May and the continuedsuccess of our Training Days fuelled by the enthusiasm of our Students who areincreasingly getting more involved in our (and their) Association. Council highsmust surely be the welcoming of our Co-opted Student and Associate colleagues.On reflection, it seems that the highs outweigh the lows, so 2018 wasn’t such abad year! With these highs I wish you all Seasons Greetings and hope that youall manage to have a restful and relaxing festive period.

Barry CaradinePTA President

6

MEMBERSHIP NEWSANNETTE SUMMERS

A very warm welcome to new PTA Members:1419 Mr Paul Shearman 16 Norman Close Long Meadow WORCESTER Worcestershire WR4 0HS Tel: 07779 001252 Email: paul@paulshearman.co.uk1342 Mr Paul S Mill 31 Nutclough HEBDEN BRIDGE West Yorkshire HX7 8HA Tel: 07746 714392 Email: pmillpiano@gmail.comWe welcome new PTA Students:S1424 Mr Jordan Matthews 18 Vinco Terrace Elton PETERBOROUGH Cambridgeshire PE8 6RT Tel: 07762 281449 Email: jordanmatthews23@gmail.comS1425 Mr Thomas B Williams 116 Colwyn Road The Mount NORTHAMPTON NN1 3PX Tel: 07473 982493 Email: tb.williams@hotmail.co.uk

Photographs from the Scottish Autumn Lunch in Glasgow:Left page, Paul Cohen; Andrew and Lynn Jamieson; Roy and Aileen O’Neil

Right page, Tania Staite with Dan and Catherine Evans; Roy’s emergency umbrella;Tania and Bich Hong McBay.

7

S1426 Mr Julian A Cox 21 Moordown LONDON SE18 3LY Tel: 07760 228447 Email: julian@juliancox.co.ukPlease note these changes to the 2018/2019 Yearbook:

1022 Ms Michelle Rudd (new address and telephone number) 5 Lane Head WINDERMERE LA23 2DW Tel: 01539 442119

1188 Mr Hayes Kwong (correct address) Rm 04, 4/F BLK A Hang Wai Industrial Centre 6 Kin Tai Street Tuen Mun N. T. Hong Kong1347 Mr Julian Dendy (new address) 1 Dunstable Road RICHMOND Surrey TW9 1UHS1355 Mr David Johnson (new address) 7 Meadow Gardens BECCLES Suffolk NR34 9PA

Please send all changes of address, telephone and email to The Secretaryusing the contact details on Page 35.

REMEMBER THAT REDUCED ANNUAL SUBSCRIPTION RATESAPPLY UNTIL 31 JANUARY 2019

NOTE THAT UNLESS SUBSCRIPTIONS ARE RECEIVED BY 31 MARCH 2019ENTRIES WILL NOT BE INCLUDED IN THE FORTHCOMING YEAR BOOK

8

STEINWAY STANDARDSBY ANDREW STEWART

It takes an expert team to keepWigmore Hall’s Steinway concertgrands in top order. Andrew Stewartspeaks to the highly skilled technicianswhose work provides the perfectplatform for hundreds of pianoperformances each season.

Trademarks rarely becomesynonymous with their products.Those that do stand or fall on quality.Steinway’s universal recognition andreputation for excellence run farbeyond the music world, fixed in theminds of millions as the gold standardfor grand pianos. While other concertinstruments are available, as impartialcommentators might say, they must all be measured against the Hamburg-builtSteinway Model D. Wigmore Hall owns three of Steinway’s flagship grands.The ceaseless demands of performers and performances require technical care ofthe kind found in Formula One pit lanes and aircraft maintenance hangars. It’s allpart of the service provided to Wigmore Hall by Steinway’s dedicated team ofpiano technicians.

The Formula One analogy is not lost on Ulrich Gerhartz, Director Concert andArtist Services for Steinway & Sons London. Preparing a Model D for optimalperformance, he notes, involves responsive teamwork and close consultation withindividual artists. Andreas Haefliger’s recent Wigmore Hall recital, for instance,crowned by Beethoven’s mighty ‘Hammerklavier’ Sonata, was prefaced by apainstaking process of adjustment and regulation intended to give the performerexactly what he wanted. “He felt the piano was too bright for his last recital, so westayed in touch to plan the piano preparation for his next concert,” Gerhartz recalls.

“I went to the Hall the Friday before the May bank holiday to do maintenance workon the piano. Andreas flew to London to test the instrument on the bank holidayand was happy with it.”

When Haefliger returned for his recital the following week, Nigel Polmear,one of Steinway’s most experienced tuner-technicians, tuned the piano thatmorning and checked it again before the performance. “Andreas sent me a textmessage after his concert to say it went very well and that he really enjoyed thepiano,” notes Gerhartz. “That shows the involvement we have with the artist and

Nigel Polmear, photographed by Sokol Priftaj

Reprinted in full from ‘The Score’, Summer 2018edition of the magazine for the Friends of theWigmore Hall and used here with permissionfrom the author and Wigmore Hall Friends Office.

9

with the Hall.” A member of the Steinway technical team, he adds, will tune theinstrument before every Wigmore Hall performance. “When you have crazy dayswith a morning, afternoon and evening concert, we are there three times to checkthe piano.”

Dealing with Wigmore Hall’s ‘crazy days’ is part of the tuner’s lot. “We knowfrom experience how to work within those confines,” says Nigel Polmear, who hasworked for Steinway & Sons since the mid-1980s.

“The Hall’s backstage staff are very helpful and want to give us as much time aspossible. The starting point is always to make sure the tuning is solid and stable,which usually means getting to the Hall at eight in the morning and working on thepiano for two hours.” If certain notes sound brighter than others, Steinway’s tunerswill needle the instrument’s hammers to soften their felt or make other subtlechanges. “The goal is to keep things in good order. All that matters is that the artistcan perform without worrying about the instrument.”

In addition to the almost daily tuning round and minor adjustments, Steinway &Sons deliver a rolling piano maintenance programme at Wigmore Hall. The latterrecognises the needs of regular visitors, finding time between rehearsals andconcerts to ensure the piano is as they like it. “It’s a well-timed combination ofmaintenance, which involves regulation of the action and voicing [or adjusting thepiano’s sound quality] as well as tuning,” comments Ulrich Gerhartz.

When not in use, Wigmore Hall’s resident Model D Steinways live beneath thestage. The main instrument was chosen in December 2014 by Igor Levit atSteinway’s Hamburg factory. It carries around 90 percent of the Wigmore Hallpiano workload. Several artists, Sir András Schiff, Graham Johnson, Julius Drakeand Malcolm Martineau among them, favour the Hall’s 1980 Steinway.The venerable instrument, affectionately known as ‘The Old Lady’, has beenrebuilt in Hamburg and received several major overhauls in recent years. GeoffreyParsons and Malcolm Martineau originally chose it for the Hall. “Although it’sharder to tune than the new instrument, its unique sound and feel are popular withcertain performers,” comments Nigel Polmear. A third Model D, selected by SirAndrás Schiff in 2007, is kept at nearby Steinway Hall and transported to WigmoreStreet for concerts requiring two pianos.

“The 1980 instrument would be too fragile to be used seven days a week,”observes Ulrich Gerhartz. “Older players are used to its sound projection, which isdifferent from the more modern pianos. That’s why we reserve ‘The Old Lady’ forthem.” Wigmore Hall’s workhorse Model D, he adds, can withstand the forcesgenerated in recitals of heavyweight Romantic repertoire and rarely needs morethan tuning afterwards. “If you had to work on a piano for four hours aftersomething like Andreas Haefliger’s ‘Hammerklavier’, then Wigmore couldn’toffer the programme it does. They’ll start rehearsals at ten the following morningfor a lunchtime recital and rehearse after that for the evening, which leaves onlyenough time for tuning before each performance. Our performance pianos arenurtured by a technical team and rebuilt as needed. It’s like the difference between

10

a Formula One race car and a small hatchback that’s used for trips to Sainsbury’stwice a week!”

Steinway and Sons, established in New York City in March 1853, began byproducing fine square pianos at the rate of around one per week. As theirreputation in America soared, Steinway instruments, grands and uprights, weresoon in high demand in Europe. The firm established its second factory inHamburg in 1880, five years after opening the 400-seat Steinway Hall as part ofits London showrooms and sales department. The original Steinway Hall, based at15 & 17 Lower Seymour Street (later incorporated into Wigmore Street), closed in1924, reopened the following year as Grotrian Hall, and was destroyed during aGerman incendiary raid in 1943. Steinway’s London headquarters moved tonearby George Street and finally settled in Marylebone Lane in 1982.

When Steinway’s esteemed German rivals opened Bechstein Hall in 1901,Wigmore Street was already a byword for the best in piano making. Nationalistsentiments during the First World War forced Bechstein Hall’s closure. After thevenue reopened as Wigmore Hall in 1917, Steinway became the principal supplierof its grand pianos. The relationship has deepened over the past century and standstoday as a vital ingredient in the Hall’s artistic success.

“It’s a team effort,” notes Ulrich Gerhartz. “Steinway London is unique in havingthe infrastructure to provide leading players with what they want.It relies on the free flow of communication between us, artists and Wigmore Halland support for the younger members of the team. Our passion is to provide aservice to music that few people see but everyone can hear.”

Ulrich Gerhartz House managers Tarek Al-Shubbak and Natalie Wallacemoving the piano from stage to below stage

Photographs by Sokol Priftaj

Thank you to all at the Wigmore Hall Friends Office for generouslyallowing the PTA to reprint this article in full and for consent fromauthor Andrew Stewart and photographer Sokol Priftaj.

11

REMEMBERING ROGER TOSTEVINMARTIN LOCKE

It is with great regret that we say goodbye to yet another PTA Member.The sudden diagnosis of cancer two years ago was a great shock to all of us thatknew Roger and at 59 years old on 25th October this year it seems too soon to

say goodbye.Roger was a good friend

with a kind nature; he was adrinking partner and weenjoyed many a pub outingtogether around Stoke, but hewas also a great pianotechnician, restorer and trustedfriend in the piano business.

Some of you will rememberRoger from his days as astudent at Newark College in1977, then later at SteinwayHall in 1981, or at the shop inStoke-on-Trent.

Roger’s dad NevilleTostevin established his pianoshop, Tostevin’s Pianos andpiano tuning business, at 491Hartshill Rd, Stoke-on-Trentback in the 1980. Born into the

family business, Roger thought it a good idea to stay with mum and dadservicing and retailing pianos.

Neville was trained at theRNCB in Shrewsbury andbecame a PTA Member.With Roger’s passing, two pianotechnicians who, although bothsmall of stature, were sosignificant to the piano worldare lost.

After training at Newark and ashort time at Steinway Hall in1981, Roger made up his mind to upgrade the stock in the shop in Hartshill and

12

thankfully his dad agreed. Roger took on work rebuilding pianos in theworkshop for all those who wanted their old pianos reviving.

Roger was always very young at heart and loved Les Dawson’s sense ofhumour, in particular the out-of-tune-piano sketches. Like many technicians hewas detail minded and was talented in all things mechanical, with a particularinterest in cars and motorbikes, winning an award for restoring one of hisHonda motorbikes.

Always a Stoke-on-Trent man at heart, Roger met the love of his life Bettyand they enjoyed ten years of marriage together. Roger demonstrated all hehad learned from his uncle Len; inheriting his green fingers to grow lots ofpotatoes and tomatoes with memories of visiting his uncle Len’s farm onGuernsey and restoring a water pump.

Roger leaves behind his wife Betty, his mum Mavis, sisters Angela andRuth and his little dog, Jack.

This is the end of an era for Stoke and the Tostevin family as the shop inHartshill is now sold, and the tuning work is inherited by Mike Syson, anotherPTA Member. Roger’s funeral took place on 8th November at St. Paul’sChurch, Stoke on Trent.

I would like to thank Graham Bryant, a fellow technician who met Roger atNewark and worked for him in the shop. He gave a very warm-hearted readingof Roger’s life at the funeral.

After the funeral the reception was held at Hopkinson House, the name ofthe funeral directors and of course the Hopkinson Piano Company.

It was great to sing the second hymn at the funeral ‘All Things Bright andBeautiful’ as for me it says so much about Roger’s nature; but even at the veryend, Roger’s love of life and soul music was remembered with the music ofBarry White included in the service.

13

My introduction to music came at school through playing music in theOrchestra and Wind Band on clarinet and bassoon, while also enjoying life asa recorder player in the school recorder group. I came to the piano relativelylate in life, at the grand old age of 25 or 26, after having had organ lessons forthe time first.

Long before I had considered piano tuning as my chosen career, I workedas a Church Pipe Organ Builder and Tuner for 15 years. When the businesswas wound up in 2004 due to my business partner’s ill health, I did asuccession of woodworkingtype jobs, until the chancecame to apply to NewarkCollege Piano School in 2013.I graduated in July 2016 andmoved back to our home nearWalsall in November, settingup in business a couple ofmonths later.

I have found life as a self-employed tuner much tougherthan envisaged, and it hasmade me question at times ifthe training has been worth it, but once the elements of doubt have passed, myresolve has deepened, and I am determined to press on, trying to develop mybusiness and CPD where possible.

As a PTA Apprentice who has been co-opted onto Council, I hope I can addconstructively to EC Meetings, and if any PTA Apprentices or Associates haveany views they may wish to express, they may contact me at:

haynestuning@yahoo.com

MEET THE COUNCIL, STEPHEN HAYNES

DEADLINE FOR PTAN ARTICLES: FRIDAY 25th January 2019

Please email articles, letters and photos to: ptanews@pianotuner.org.uk orpost them to the address on page 3. Please email photographs and textseparately. Photographs within documents generally are not of a sufficientlyhigh enough quality for the print process.

14

CONVENTION CLASSES 2019, SNEAK PEEKROBERTA CARADINE

Join us in Bedford next May where confirmed speakers include:John Paul Williams, Piano Technician at the Guildhall School of Music and

Drama will demonstrate how he maintains a large number of extremely high-use pianos in their best possible condition achieving the subtleties in the touchand tone that visiting world-class pianists demand whilst also maintaining themedium and long-term use of the instruments as practice and teaching aids.He will explain how the techniques a tuner/technician apply can have either apositive or detrimental effect on a piano’s long-term performance and over-alllife span, concluding with managing a pianist’s and technician’s expectation ofhow the instrument works and strategies to cope with a wide range of musicalexpression in a demanding environment.

Martin Backhouse’s popular class from a couple of years ago entitled“Pain in the neck and pain in the back” will be re-run. Martin will be looking atthe different types of drop action and how to overcome the problemsencountered when tuning, repairing and regulating them.

Brian Frost’s “Back to Basics” half-day class will cover the basic principlesof day-to-day piano tuning, including speed, accuracy and stability. This classis designed for those who would like to refresh their basic tuning skills and itwould also be ideal for anyone preparing for or thinking of taking the PTATest. It is also bound to be of benefit to those of us who have been tuning forlonger than we care to admit. Have we unwittingly slipped into bad habits?

Andrew Jamieson will present “How to pass the PTA Test”. Following thesuccess of last year’s presentation, Andrew will lead would-be candidatesthrough the Test process again. With over 30 years’ experience examining forthe PTA, Andrew is well placed to offer support and encouragement to thosewho wish to benefit from all that the PTA has to offer.

David Martin will offer a hands-on upright and grand regulation class.Once again, those lucky enough to secure a place will be given the opportunityto practise and test their regulation skills on the PTA’s one-octave grand andupright models under David’s guidance. This class is constantly over-subscribed so it is worth remembering that hands-on classes have participantnumber restrictions, so book early to avoid disappointment.

PTA Convention 15th – 18th May 2019, Sharnbrook, Nr Bedford

15

SCOTTISH AUTUMN LUNCHBY DOUGLAS MCBAY

HERE WE ARE AGAIN! (Yes it’s that time again — for the PTALunch in Glasgow.) HAPPY AS CAN BE! (Enjoying a lunch with knives anddifferent forks from usual.) ALL FOOD PALS! (The PTA is a friendly bunch.)AND JOLLY GOOD COMPANY! (It is the company as well as the chargethat makes the feast.)

There were sixteen present. I want to especially welcome and mentionMichelle Rudd, Dan and Catherine Evans who were here for the first time.Everyone else was welcome too. The Scottish Autumn Lunch has been a long-standing tradition. Andy Jamieson (Honorary Member and Past President) andhis wife Lynn were there, so was Anne Burton (Past President), Roy O’Neiland his wife Aileen, Douglas McBay and his wife Bich Hong, Tania Staite(Trustee) and her friend Lesley Painter, Marjorie Vernal, Alasdair Russell,Paul Cohen and Annette Summers (PTA Secretary and Treasurer) exercisingher role as Treasurer with as much precision as setting a scale.

During the afternoon Andy Jamieson thanked all who attended, especiallyAnnette Summers for herunstinting efforts in making it allhappen. The restaurant staffalso received a word of praiseand thanks.

Andy paid tribute to Bill andHelen Gray. Bill is an HonoraryMember of the PTA and hasgiven long and immeasurableservice not only to the PTA butto the profession as a whole.Through Andy, Bill expressedhis good wishes to the attendeesand further expressed his regretsat not being able to be presentowing to health matters.The good wishes of the companywere expressed to Bill and Helen.

Thus ended anothersuccessful Scottish AutumnLunch and the jolly goodcompany made their farewellsand departed for home.

16

BECHSTEIN MASTERCLASSJANE TAYLOR

Newly graduated this summer from Northampton PianoTechnology College, I am still chalking up “firsts” in the piano tech world.The PTA’s Bechstein Masterclass on 7th October was the latest. No toolsrequired, just my best listening ears and enough self-discipline to avoidnodding off after lunch. In the event, it was way too interesting for that to everbe a threat.

I had the luxury of an easy bus ride in bright Sunday sunshine from myhome to Jaques Samuel Pianos in London’s West End. The JSP showroom isBechstein’s top UK venue for showcasing its pianos, a relationship that goesback over many decades.

The showroom was midwaythrough a major reconstruction,so the 27 technicians attendingthe masterclass (including animpressive number of studentscurrent and recent) organisedourselves around two Bechsteingrands in the middle of asurreally elegant building site.

Our presenter was TorbenGarlin, a Bechstein concerttechnician. He gave us a potted history of the company from its inception inthat most auspicious piano-making year, 1853. We learnt how the companytook to building its own concert halls in the 1890s, including, in 1901,the London recital venue we now know as the Wigmore Hall. The political andindustrial challenges of world wars brought Bechstein to its knees mid-20thcentury, but new investment offered a revival from the 1980s with modernisedconstruction and technology to meet the very different soundscape demands ofthe late 20th century. Regrowth also involved Bechstein acquiring other brands,notably Hoffmann and Zimmerman, in the 1990s.

Today Bechstein divides its pianos into two distinct classes: the “academy”pianos that preserve a traditional warmer, more intimate tone; and the “concert”series, with a redesigned rim, stiffer soundboard and obsessive focus onreducing friction of materials and action parts to produce faster harmonics anda shiny, brilliant sound for the concert hall.

Bringing things right up to date, Torben Garlin explained that Bechsteinhas started making its own mahogany/beech hammers, joining the likes of

17

Steinway NY, Yamaha and Kawai, to give it optimal control of the keyattributes of this critical action part. The hammers are not yet on sale fortechnicians but watch this space…

Hammers were the prominent theme throughout the practical afternoonsessions. Torben worked on two very different Bechstein grands: a new Model

C, but firstly a “vintage” 1916jalopy with a Schwander action,hunted down specially for oureducation by Jaques Samuelowner, Terry Lewis. Short ofmajor restoration work, withsuch instruments it’s a case ofmitigating the worst defects.After checking the blowdistance, Torben got to workon hammer refacing.His advice here was to avoidshaving the grooves at the nose,which invariably changes the

tonality and usually leads to more extensive voicing work being needed.Better, he suggested, to concentrate on removing damaged felt at the outeredges of the nose, which would have the effect of restoring the strike point tothe surface of the nose in a less “invasive” way.

He also offered this little gem: the hammer centre pins may cause clickingif they are loose, so you can “voice” the centre bushings – a little fine needling

– to derange the felt fibres just enough to help tighten up the centre!We could have been there all day watching Torben work his minimal-

toolkit regulation magic. But he counselled against endless fiddling with yourcustomer’s aged piano just because you can. Remember they’re likely to havea strong connection with their piano and how it sounds. You change that atyour peril.

Bottom line: The pianissimo range of the piano is the crucial focus for basicregulatory control. If you can get a reasonable pianissimo, that’s 80% of thejob done.

The Q&A ranged over issues of cracked iron frames and soundboards in oldBechsteins, the uses of Ballistol (think WD40 forpianos) and Teflon powder, and a helpful recap ofthe order and interplay of regulating action parts.

Torben moved over to the shiny new Model Cgrand to share more of his expertise in voicing.

Torben Garlin

18

He explained how to voice UP (brighten the tone on an under-par note)without resorting to the use of hammer-hardening liquids over the nose (which,he asserts, creates a lacquered hardness of tone). Better to needle sparingly andaccurately into the shoulders and staple area, working towards the hammernose. Maybe five strikes each side with a no 5 needle, to shift the tensionwithin the felt. And if you over-do it, it’s easy to voice it down again a little.

If you are going to harden hammer heads, Torben’s preference isCollodion: nitrocellulose mixed with alcohol and ether. Apply this with pipetteor syringe (mainly on bass hammers) on to the centre wood (caul) of the headand around it on the flat surface towards the nose, avoiding the nose itself.Again, the idea is to preserve the sound quality at the nose whilst stiffening thefelt for greater power.

Bottom line: a hammer head is a non-linear spring, so as you strike harder,it’s not just a case of volume increasing but also tonality expanding in therange of upper partials. Voicing-up must therefore achieve two things: to drawsound into the hammer and to push the sound to the top of the hammer headwhilst avoiding “dumbing down” the characteristics at the nose itself.

I loved the way this masterclass was a mix of high expertise and recap ofbasics. The atmosphere was informal and encouraging. More hands-onopportunities to feel the subtle changes Torben was making would have beeneven better. But it was a lovely day that ended with a welcome cuppa andclassy cupcakes. I’m off to buy no 5 needles and a bottle of Collodion…

19

VISIT TO KALISZ, POLANDBRIAN FROST

This autumn the Europiano (EP) Delegates meeting washosted by the Polish Piano Tuners Association (SPSF) inKalisz in central Poland and the oldest city in the country. We were invited tothis part of Poland as it is where the Polish piano restoration industry is based.In the past factories manufacturing brands like Calisia were based here.This provided a potential workforce used to dealing with pianos.

I had the pleasure of being joined on the trip by PTA President BarryCaradine and fellow PTA Member Ken Forrest. We flew from Luton toPoznan and then hired a car to make the 100 mile journey to Kalisz.We visited 5 restoration plants in all, varying in size from a workshopcontaining 20 or so grand pianos, purely undergoing soundboard and wrestplank repairs, to large scale factories that were big enough, and sufficientlywell equipped to manufacture pianos in their entirety. There are around 100such sites in and around Kalisz, all offering different levels of refurbishmentfrom frame, soundboard or case finishing, through to the complete restorationprocess. One of the most impressive was Piano Fiks, whose new factory wasstill in the process of being fitted out. Judging from some of the computercontrolled polyester finishing machinery already installed, they are planning tocarry outmanufacturingprocesses for pianomanufactures on alarge scale.

The main companieswe visited were: PianoFiks, WR-Piano, SAP,and Piano Renovationand all had strengthsand weaknesses in thequality of their work. Many instruments were finished to a high standardalthough some would have needed final voicing or regulation to meet thestandard PTA Members expect. If you are considering using a Polish companyto carry out a major restoration project, I recommend travelling to Kalisz toview as many companies as you can. There are plenty to choose from and theyare very welcoming.

Kalisz is also the home of the Arnold Fibiger College which trains newpiano technicians and is named after a well-known 19th Century Polish piano

Piano Fiks new factory

20

manufacturer and industrialist. As the SPSF had planned a packed programmeof visits during our time in Kalisz, this was just a brief stop with a shortconcert by some of the students training at the college. Sadly we didn’t see anyof the facilities on offer. We also visited the Kalisz Industrial Museum which

had an impressive display of 19C pianos – some by theafore-mentioned Arnold Fibiger. Unfortunately nonewere in playing order and were being preserved in theircurrent unplayable condition. Hopefully one day therewill be funds available to get some of them restored.

On Friday evening we were treated to an amazingconcert which highlighted a performance on a ViolaOrganista, a type of keyboard instrument. It is worthdoing a search on the internet to see it being played.Based on an original design by Leonardo da Vinci, theplayer operates afoot pedal thatrotates four

friction belts. Individual strings are thenbrought into contact with the belts bydepressing keys on a 5 octave keyboard.We heard 2 Handel organ concertosperformed on this unique instrumentand the soloist invited us onto the stage afterwards for a closer look. He wasaccompanied by the local Kalisz string orchestra who also played two furtherpieces on their own. Their performance was outstanding.

Above: Friction belts area nearest the soundboardViola Organista concert, below

Kalisz Industrial Museum

21

The main Delegates meeting took place on Saturday morning. For the 1sthour we were divided into two working groups. I was in the group discussinghow to improve the setting up and running of the EP Congress and BarryCaradine attended the group to discuss how Europiano could evolve. Lots ofideas were put forward and these will be discussed by the EP Board Membersbefore they are discussedfurther by Delegates.

After the Delegatesreassembled from the twofocus groups, the mainmeeting started. I wasappointed ‘teller’ and wouldtake charge if an item requireda vote. Each Member countryhas a number of votes relatingto the number of members ofthat country’s association.

The President reported that the Congress in Italy had been a success andthat the EP Board had met in Zurich at the end of June.

The EP treasurer Dieter Fröhlich reported a surplus of 3,300€ over theprojected budget for 2018. 2 countries, Poland and France, had yet to pay the2018 subscription. As the French were not in attendance no reason was putforward for their overdue payment. However the Polish Association explainedthat they had undergone a major restructuring this year and apologized forthe delay in paying. Payment would now be made without further delay.Dieter also commented on the unknown level of on-going costs involved inappointing a new secretary since the retirement of Madlen Blösch in May.The Board are working on proposals which will be put to the Delegates indue course. Deiter proposed keeping the EP levy at 8.50€ which wasagreed unanimously.

The host for the 2021 Congress was then discussed. Two countries, Polandand Germany, were bidding to be the next host country. EP President andMember of the German Piano Tuners Association (BDK) Gunther Schaiblegave a presentation proposing Ludwigsburg as the host town. Three Membersof the Polish Association made a bid for the SPSF to host the Congress inWarsaw. A short break followed the 2 presentations after which the BDKwithdrew their bid for 2021 and offered to host the Congress in 2024. A votewas held and both Warsaw 2021 and Ludwigsburg 2024 were unanimously

EUROPIANO DELEGATES MEETING

Delegates outside the Town Hall, Kalisz

22

agreed on. The 2021 Congress will also host the IAPBT symposium, withpiano technicians from around the world attending.

The Spanish Association offered to host the next Delegates meeting inSegovia in November 2019. The 2019 EP AGM will be held in Frankfurt onApril 5th at 6pm.

The rest of Saturday was taken up with more workshop visits. In theevening we attended a gala dinner hosted by 6 piano renovation companies.

This was my first visit to Poland and I found the whole experiencedelightful. The SPSF were very welcoming and the food plentiful – sometimestoo plentiful! I have never experienced a 3 course meal followed by coffee tobe then presented with even more food. When I commented that we had onlyjust eaten, “Welcome to Poland!” was the response. Polish vodka was alsoplentiful but, as the nominated driver for the next day, I had to restrain myself.Poland has a much lower alcohol limit for driving than the UK.

I would like to extend my thanks to my travelling companions, Barry andKen. They acted as extra eyes whilst I was trying to drive in an unfamiliarcountry, and driving around roundabouts the ‘wrong way’ whilst seated onthe ‘wrong’ side of the car. My Europiano trips, although thoroughlyenjoyable, can feel lonely at times – especially when waiting at airports.Thank you to you both – it was an excellent trip and your company made itfeel even more special.

23

EUROPEAN DATA PROTECTION LAWCHANGE ON 25TH MAY 2018.

Like all organisations that use your personal information, the Pianoforte Tuners’Association has to provide more information about the purposes for which we use yourpersonal data, the rights you have over it and what that means in practice. So we’vetaken this opportunity to update our Privacy Policy. The way we use your data hasn’tchanged, and we still give it the same level of care and protection.

Our promise to you The Pianoforte Tuners’ Association is committed toprotecting your privacy. We will always keep your personal information safe and willnever sell it to third parties. We will be clear and open with you about why we collectyour personal information and how we use it. Where you have choices or rights, wewill explain them to you and respect your wishes. We have written this Privacy Policyin plain English without legalese to tell you how and why we use your personalinformation. We hope you will find it clear and simple, but if you have any concernsor questions please feel free to contact the Membership Secretary.

Who’s in control of your information? You are. Throughout this Privacy Policy,‘we’ or ‘Pianoforte Tuners’ Association’ never lose sight of the fact that it is yourpersonal information. This information is held for the life of each individual andupdated annually with the subscription renewal documentation. You have the right torequest a copy of the information that we hold about you. You can withdraw or changeyour consent at any time by contacting the Membership Secretary. If requested, datawill be removed and destroyed. Please note that all processing of your personal datawill cease once you have withdrawn consent, other than required by law, but this willnot affect any personal data that has already been processed prior to this request.

Information about you ‘We’ or ‘The Pianoforte Tuners’ Association’ hold thefollowing personal data for the whole membership (Members, Retired and HonoraryLife Members, Associates, Students, Apprentices and PTA Patrons) which includes:

Name; Address; Contact telephone numbers; Email address; Website; Education /Training history; Membership test results

This data held is for internal use with the following exceptions:● Contact information is published in the Pianoforte Tuners’ Association Year Book,

which is received by the membership and wider UK piano trade.● Members’ contact information is made public in the ‘Find a Tuner’ section of the

Pianoforte Tuners’ Association Website.Internal use includes:Mailing lists for the Pianoforte Tuners’ Association News and Yearbook,

notification of PTA events and CPD training days.Security We do our best to ensure that any personal data given to us by you is

protected and securely stored. We use strict procedures and security features to try andprevent any unauthorised access.

Internal workingsData controller: Membership Secretary, IT SimpleData processors: PTA News Editor, PTA Year Book Editor, Convention

coordinator and the President.

24

OK, I put ‘woes’ in the title to make a slightly silly parody ofthe children’s nursery song. But woes there are, not least because wehave to lug half a ton of the darn things around with us on a daily basis.There is also a woefully large and sometimes bewildering assortment of tuninghardware available these days.

I thought I would write about my own levers and their applications.There is a wide range of other makes and types on the market. I’d like to stressthat I'm not trying to make an argument for a right or wrong piece of kit or aright and wrong way of doing things. But I think we can all agree that getting agood, stable tuning is what matters, and I'm sure we all have our own favouritetools and techniques to achieve it. I am definitely not disparaging otherpeople’s methods or equipment.

The humble T-hammer (picture 1)PROS: I find this the most practical and straightforward implement for

tuning a Victorian grand or upright with oblong wrestpins. In many ways itembodies the purest form ofwrestpin control, i.e. applying atwisting moment in perfectalignment with the longitudinalaxis of the pins. (It is possibleto buy an oblong head for oneof the levers pictured, but asyou can only fit it in twopositions opposed at 180°, thisseems impractical to me.)

CONS: It can give youwrist-ache, especially as onedoesn’t use it that often. However, most wrestpins in these older pianos (whichgenerally have lower string tensions) are not very tight.

The Universal or Reynolds lever (picture 1)PROS: It’s a perfectly well-made piece of kit. I’ve had mine for almost 40

years and it’s still fine. It will get into places that other levers won’t, especiallyon overdampers where the damper rail plus its annoying central support almostprevents access to adjacent wrestpins. It’s also quite thin-walled and will sneakin between two other wrestpins that are too close, or when the pressure bar istoo close to the bottom row. Because its fixed shaft-to-head angle is wide, itcan come in handy if the open top lid of an upright overhangs the wrestpins.

HEADS AND LEVERS, TIPS AND WOESADRIAN CARPENTER

Picture 1

25

CONS: It’s a one-size-fits-all, and of course it doesn’t fit all sizes ofwrestpin. So it doesn’t pass my snug-fit test in most cases. The wide angle of105° makes the ‘feel’ less accurate.

The Steinway Pattern short lever (picture 2)PROS: It accepts a wide range of heads of different lengths and star-sizes

(as supplied, in my case, by Fletcher andNewman). Because of its shortness there isvery little flexing, and by positioning yourhand close to the head, you can get anexcellent ‘feel’ for the tiniest movement ofthe wrestpin in the plank. Using this with aperfectly fitting head it’s my lever ofchoice for nearly all grands, especially forconcert work, and for uprights whosewrestpins are not over-tight. The headscan be screwed on and off without any special tool. The small shaft-to-headangle of 97° allows even better ‘feel’.

CONS: However, this small shaft-to-head angle (which is fixed by thethreaded heads) means that it will not fit on certain uprights with overhangingtop-lids, and is awkward on some grands with tall frame-bars, e.g. Blüthners.For many modern uprights it is just too short to get adequate leverage toshift very tight wrestpins. It depends how strong you are! But I’ve given upthat struggle.

Extendable Master Lever (picture 3)PROS: It will accept all the heads mentioned above, which can be screwed

on and off without a special tool.Fully extended (15”) it will give amassive leverage on tightwrestpins. It is a well-made andlong-lasting tool.

CONS: Because of its longshaft there is some flexing, which when fully extended doesn’t give a veryprecise ‘feel’ to the movement of wrestpins within the plank. It is a heavypiece of kit to carry around. The shaft-to-head angle is fixed at 97°.

Fujan Carbon Fibre Lever (picture 4)PROS: The strength, stiffness and

lightness of a carbon fibre tube gives amuch better ‘feel’ when dealing with verytight wrestpins. It’s my tool of choice formany modern uprights. One can buy

Picture 2

Picture 3

Picture 4

26

different length levers, though I’ve opted for the longest (13”) as I use itinstead of a Master Lever. (It is also possible to buy a large wooden knob forthe end, which some find more comfortable for the hand.) A selection of headsand tips is available, which in my opinion is essential to get the best ‘feel’from this lever. The three heads available from Fujan give angles of 95°, 100°and 105°.

CONS: For those used to the type of lever where the head screws directlyonto the shaft, there is the additional fiddle of fitting heads and tips. I have thethree differently-angled heads mentioned above, and three different star-sizesof Jahn tip. As the latter are fitted in the same axis of rotation as the wrestpin,it is necessary to fit them tightly with a compression-washer and a special tool.The length of my Fujan lever makes it difficult to tune the top treble of somegrands where it can be constricted by the lid prop… but I seldom use it on agrand anyway.

Choosing the right tool.... and avoiding woesI feel a little diffident here, as most people reading this will be experienced

tuners who have their own favourite tools and their own tried and testedtechniques for achieving good tuning stability.

However, it’s sometimes good to see others’ ideas, and maybe some PTAApprentices will be reading this too. If so, just ignore anything I say which iscontrary to what you’ve been taught!

1. Getting a really snug fit on the wrestpin. The tip or head should go asclose to the coil as possible but without any free movement. Merely fitting thetip on the top half of the pin causes extra ‘twist’ before anything happens.It’s sometimes difficult to get a snug fit, especially on some older Britishwrestpins which are squared off without much taper. Likewise, a certain brandof modern German wrestpin (which shall remain nameless) is noted for astrange profile allowing levers to drop off when you’re not looking.You sometimes have to compromise.

2. Using a short lever where possible. Opinions vary here, but I find I canget a better and more immediate feel of what’s happening to the wrestpin inthe plank. This applies especially to Steinways and other good-quality grands.

3. Using the smallest angle head possible. Again, it’s all down to ‘feel’.When the wrestpins are ridiculously tight, a Fujan-type lever seems the bestoption. One inevitably has to grip the lever near the end to get enough leverage.Giving it a jerk is often the only way to achieve a small movement of thewrestpin, and I find the 95° head more effective than the 105° head. Don’t askme to explain the physics. It just works for me.

And finally...Happy tuning everyone, and may your woes be small.

Editor’s note: All the kit and hand position photos are on p.32.

27

BECHSTEIN DAY, JAQUES SAMUEL PIANOSANDREW GILLER

I was delighted to attend the last Training Day with Bechstein ConcertTechnician Torben Garlin who guided us through a tour de force of Bechsteingrands old and new along with an excellent overview of company historyaccompanied by a PowerPoint presentation.

Torben has been a concert technician for over 20 years which reflects theperiod when C. Bechstein became a public company in the mid-1990s.Soon after the flotation, a new range of pianos emerged which werere-constructed to partly meet the demands of a ‘modern sound’ in their

‘Concert’ range, whilst the ‘Academy’ range reflects a contrast in tone to theolder and warmer sound Bechstein was originally known for. Torben was ableto demonstrate the many techniques of service and concert work on a newConcert model C and an elderly,unrestored model ‘A’, no doubtfamiliar to many. On the model Cthe type of technical workemployed being very exclusive tothe customized designs of theaction, hammers, keyboard andoverall acoustic body Bechsteinhave now adopted.

Briefly, the new models todayare a product far different from thepopular classic models made in Berlin from over a 100 years ago, howeverthere are hints of the original design features and materials used throughout,especially in the Academy range. The modern ‘contemporary’ instrumentshave many technological construction features and the Concert range includesa six month tension management process to ensure the inner and outer rims area guaranteed stable structure; this will secure the optimal soundboardperformance with a very fast transmission of sound to enable a bright tone.The Academy models have a difference in structure to slow down the vibrationleading to the mellower sound. There are different materials used for the twotypes of pianos, notably the bridges with the Academy in solid red beechand separate beech cap where the Concert model is laminated European maplewith a hornbeam cap. The subtle differences here contributing to thecontrasting tonality for both, European maple is also used for guitar andviolin backs.

Keyframe adjustment demonstration

28

The day included a short recital by Jaques Samuel prize-winner ScottMacIsaac who treated us to Schubert’s A♭Impromptu D899, Rachmaninoff’s Preludein G minor and Chopin’s andante spianatoet grande polonaise in E♭, Op. 22.The pieces amply demonstrated the superbqualities of the 7’ 8” piano which couldeasily have passed for a much largerinstrument! I am sure any pianist wouldfind the piano a treat to own and perform on.

I cannot emphasize enough the value of the Training Days to learn at firsthand the expertise from the manufacturer and to appreciate individual maindealer’s premises and sales range on offer. As always I left eager to practiseand implement the new information I have learnt on the next Bechstein I comeacross. As we all know, this is such a specialized industry and we never stoplearning, Torben made a particular point of how he was keen to learn and shareinformation from us as well!

The day was well attended and the PTA is extremely grateful to ManagingDirector Terry Lewis, Torben Garlin and all at Jaques Samuel for making theclass possible. Thanks also to Barry and Roberta Caradine and Jane Taylor forher article about the day.

www.jspianos.com

Demonstration with the Model A

Jaques Samuel Pianos showroom Torben toning on Model C

Scott MacIsaac’s recital

29

TRAINING DAYSANDREW GILLER

We are very pleased to announce that Steinway & Sons will hold aTuning Day on 23rd March 2019 at Steinway Hall, London. The applicationform is enclosed and we look forward to bookings and to welcoming you all.Please do introduce any non-PTA tuners where possible who would alsobenefit from this and gain an insight into the work of the PTA.

Building upon the last Tuning Day in 2016, Technical Services ManagerDavid Widdicombe and concert tuner Nigel Polmear will lead the day onvarious topics covering the tuning of Steinways from the domestic home to theconcert stage. The day will again provide a very important and direct insightinto this side of the work and allow attendees of all abilities to gain confidencewhen meeting any model of Steinway and achieving the best result! David andNigel will explain laying the ‘A’ scale, general characteristics of tuning andother topics including stability for concert work. We expect there to be apractical session and an open invitation to tune (no pressure!) for those whowish to, under the watchful eyes of David and Nigel. In general, please expectanother superb and enjoyable day of training and a Steinway experience.

It is always a pleasure to see the showrooms and workshops, as the venuealso serves as a PTA test centre, those who are thinking of applying for the testcan appreciate where they will come and also meet the staff.

www.steinway.co.ukFuture Training DaysWe are currently arranging a mid-week trip to award winning Cavendish

Pianos in Yorkshire in June and will announce the date in the New Year.This looks to be a very special visit as Cavendish Pianos are unique, being

one of the last companies in Britain to manufacture pianos. To make thispossible they have created a Craftsman's Co-operative to pool togetherthe many skills required for manufacture of both grands and uprights.Most importantly they have ‘resurrected the lost art of piano making inBritain’ to produce pianos with a sound more mellow, sweeter and traditionalin character.

www.cavendishpianos.comFinally we also hope to arrange an overseas factory visit over the next year

and any feedback comments would be welcome about any of the TrainingDays — we are always open to ideas and suggestions.

Wishing you all a very happy festive break and see you in the New Year,Andrew Giller

30

LETTERS TO THE EDITORDear Mesdames et Messieurs of the PTA,I’m a French piano tuning student currently preparing for my diploma at

ITEMM (European institute for musical professions) in Le Mans in France.Piano has been my passion since childhood and I’ve decided to specialize inpiano tuning. In January, I’ll do an internship that will allow me to have myfirst professional experience.

As part of my training I’m looking for a free internship from 1st April to10th May, 2019. I wish to exercise this activity abroad and particularly to bebased in London. I would like the opportunity to tune, repair, and work onpiano maintenance and to learn the English technical terms. I can provide acopy of my CV on request.

Please consider my request to work with you and observe your work.If you can help, please contact me at mariefranc@orange.fr and for this I thankyou in advance.

Kindest regards,Marie-Laure

Dear Anne,I was disturbed and disappointed by some of the content in Tania Staite’s

article published in September’s PTAN. There were several comments directedat fellow PTA Members that I feel were unacceptable. My understanding ofthe role of an editor is to ensure that articles in this form are not published.I would like to think that we are a small friendly organization and cannotafford to have inflammatory divisive articles published without some form ofeditorial control.

Yours sincerely,Brian Frost (PTA President 2004-2010 and 2013-2015)

Left: Andrew Giller, Shaun McLoughlin, Barry Caradine Right: Lewis Flisher, Annette Summers

31

Dear Editor,I read Tania Staite’s excellent article ‘Cranky Cranks’ with interest.

It’s great to be reminded of best practice, both taught to so many of us andused and advocated by renowned, almost legendary tuners of the past sincegone. Many of us older tuners had direct experience of the results of some ofthem and can vouch for the end results — exceptionally accurate and stable.

Tania's article had me contemplating the valuable use of these pages foropen debate about our work and our trade. I feel very strongly that we be ableto debate freely, putting forward our views honestly and clearly and thatwe’re all free to reply with maybe strongly opposing views. But at all timeswe treat each other with respect, listen and consider and discuss; this is howwe can learn.

There have been at least a couple of areas of discussion and disagreementover the past few years. How best to tune to create long-lasting stability andaccuracy without damaging the piano, bearing in mind that the condition of thepiano and the environmental conditions may limit what’s possible, is one suchdebate. Another is how best to teach the new generation of tuners and howlong a training is necessary for a student to achieve an acceptable domestictuning skill.

I do have views on both these topics but this letter is about open debate,free speech and addressing each other with respect and consideration.

I support Tania’s holding Steve Droy to account for his (in my opinion)misguided and less than respectful comments about Malcolm McKeand in hisletter in the PTA News, August 2016. It’s a shame, as in the rest of his letterhe is making some reasonable points. I may or may not agree with them butI could take them more seriously without the personal insults.

I value PTA News for its varied and sometimes surprising content. It’s agreat source of thought-provoking articles, trade updates and news ofMembers — amongst much else. And it’s a space for conflicting views.

I believe it’s possible to express very strongly opposing views, even becritical of someone’s approach, without being insulting. Surely we can behonest and at the same time respectful? So let’s use these pages to express anddebate our differing views about any aspect of our trade. And let’s do sothoughtfully and with respect and consideration for each other.

Yours faithfully,Sam Hewson (1052)

32

Dear Editor,Can I say what a fantastic picture of Tania in the October Newsletter.

My charcoal drawings were never that good!I am most grateful for Tania’s article on ‘Cranky Cranks’. Over the years I

have tried many levers but finding in spite of hand problems it is a short leverwhich gives the best stability. The question should always be asked, “Will itstay in tune?” When trying to do the impossible with overtight wrest pins alonger lever is useful, but the end result? My hand/arm does not ache so much,but stability? Many years ago one could always tell a certain tuner — all hispianos had loose tuning pins due to his tuning technique. How much are wereally looking at engineering principles? How many times are we twisting thepin rather than rotating it? At one PTA seminar Malcolm McKeand said thathe could train someone to tune in 9 months but it took much longer to learn toset the pin and all the other things like repairs!

Thank you Tania for a very thought-provoking article — we need it, youhave put the T(hammer) back into tuning!

Regards,Martin Backhouse (1112)

Above: All the hardware from Adrian Carpenter’s toolkitBelow left: Short lever tuning hand positionRight: Long lever tuning hand position

33

JOB OPPORTUNITYFollowing the award of a major new contract to supply pianos to a London venue

and Music Academy, Phoenix Pianos needs to expand its technical staff by theappointment of an additional piano technician.

The work will include:  making,  fitting and testing of new technology intoour Phoenix range of pianos — particularly carbon fibre soundboards, bridges; alsodevelopment of two new actions for pianos based on manufacture by a completelynovel method. The technician will be required to assist with maintenance of ourdisplay pianos both at our display in South London and at Hurstwood Farm PianoStudios near Sevenoaks.

The applicant, who will report direct to the Chief Executive,  should havecompleted training in piano technician’s skills with the highest references. We wouldprefer a younger person without fixed ideas but willing to learn, evaluate and acceptnew technology. We realise that such a person may not have significant experience.This is a very special opportunity for a young person wanting to enter the profession atthe apex of the latest developments in piano design and gain experience by their workwith us.

If you are interested, please contact:Richard DainHurstwood Farm Piano StudiosThe Hurst, Crouch, Borough Green, Kent TN15 8TA+44(0)1732 885050info@hurstwoodfarmpianos.comwww.hurstwoodfarmpianos.co.uk

PTA LIBRARYMARTIN BACKHOUSE

I would like to thank James Stanton and Ross Horsey very much for theirgenerous donation of “Broadwood by Appointment” to the PTA Library. It isalways useful to have one copy to lend and one for the archive.

If you have overdue library books please return them or contact me .

EC Meeting in November: in left photo in right photoTom Read, Barry Caradine, Tania Staite, Shaun McLoughlin; Michael Syson Stephen Haynes

34

The Meeting of the Executive Council was held on 24th November,2018 at Robert Morley & Co. Ltd., Lewisham.Present were Barry Caradine (President) Andrew Giller (Vice-President)Annette Summers (Secretary/Treasurer) Tania Staite, Shaun McLoughlin(Trustees), Lewis Flisher, Roberta Caradine, Michael Syson, Nigel Polmear,Steve Droy (Members), Tom Read and Stephen Haynes (Co-opted).Minutes of the September Meeting were approved and carried.The Treasurer’s report was circulated, approved and carried.Piano tools from Frank Evans will be auctioned at the Convention and a toolbox donated by Graham Williams will be raffled to Students who attend theConvention.Two candidates passed the PTA Test recently at Steinway Hall. More Tests arebeing arranged.Three Student applications (from the Piano Technology School) have beenreceived.Shaun McLoughlin is up to date with the PTA’s advertising and was advisedthat a budget increase is available if required.A Training Day has been confirmed at Steinway Hall in March 2019 andmore Training Days are being planned.On 22nd November Barry and Roberta Caradine held a very successfulPolyester Clinic Day for students at their premises in Sudbury. Another date isbeing planned.Roberta circulated her Convention report to Council. Suggestions for two halfday classes are being sought.Students will be offered Convention fee and classes as per 2018 Convention.Brian Frost’s report on the EP meeting in Kalisz was circulated. The 2021Congress has been confirmed as being held in Warsaw, Poland.Ross Horsey and James Stanton kindly donated “Broadwood by Appointment”as requested by Martin Backhouse. Annette has written to thank them.Council discussed Job Specifications for all paid positions held within the PTA.Barry had already drawn up a document for PTAN Editor and Annette willcomplete this and prepare others for Treasurer and Secretary. Proposed,seconded and approved by Council.IT Simple emailed advising that they would no longer be able to offer supportfor the PTA website and that a new provider should be ready to go live by 1stApril 2019. A website subcommittee has been formed and each member of thiswill start enquiries with potential web provider/designers. Once the newwebsite is live, an administrator will be required.

PTA COUNCIL REPORTANNETTE SUMMERS

35

PTA DIARY OF EVENTS

Executive Council MeetingNoon on Saturday 26th January at Robert Morley & Co Ltd, Lewisham

Tuning Day at Steinway Hall 23rd March 201910am to 5pm Saturday 23rd March, 44 Marylebone Lane W1U 2DB

Details and booking form in this PTA NewsExecutive Council Meeting

Noon on Saturday 30th March at Robert Morley & Co Ltd, LewishamConvention with A.G.M. 15th to 18th May 2019

The Sharnbrook Hotel, Park Lane, Sharnbrook, Bedford MK44 1LX

For enquiries, PTA goods, changes of address or contact details:Mrs Annette Summers, PTA SecretaryPO Box 230HAILSHAMBN27 9EATel: 0845 602 8796 Email: secretary@pianotuner.org.uk

WISHING YOU ALL A HAPPY NEW YEAR

Shaun McLoughlin drew up a blog for the “What to look for when buying aSecondhand Piano” which was informative and it, or something similar,will be used in the new website.Michael Syson and Peter Metcalfe now have a list of non-Members who willbe invited to the Training Day in March and also to the 2019 Convention.Postal voting was discussed at length but as no conclusions were made,further investigation on the subject will be required.Date and venue of next Meeting: 12 o’clock on Saturday 26th January, 2019at Robert Morley Co. Ltd., Engate Street, Lewisham SE13 7HA.Meeting closed at 14.50Observers are welcome at all Council Meetings.A copy of the Minutes is available from the Secretary.