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Moving companies that move pianos is no small feat. These instruments are not only heavy but also delicate, requiring special care during transportation. In the UK, there are several moving companies that specialise in: piano relocations, ensuring your prized possession reaches its new home safely. Whether you own an upright or a grand piano, it’s crucial to choose a company with the right expertise and equipment. This article explores the best moving companies that move pianos in the UK: what services they offer, and how to prepare for a piano move. Understanding the Challenges of Piano Moving Why Pianos Require Specialised Moving Services? https://lnkd.in/g-CW4xsZ #van247 #van247delivery #van247deliveryforyou #movingcompanythatmovepiano #movingcompany #pianomovers

Piano mover price why is expansive? Piano mover price for moving a piano isn’t as simple as it might seem at first glance. These instruments are not only heavy but also quite fragile, making the task of moving them a bit of a challenge. Whether you’re relocating: a small upright or a massive grand piano, understanding the costs involved can help you plan better. This article dives into the various factors that affect: piano mover prices, the types of pianos and their associated moving costs, and how to choose the right company for the job. Plus, we’ll cover how to prepare your piano for a move and additional costs you might not have considered. https://lnkd.in/eScnEwC6 #van247deliveryforyou #van247delivery #van247 #piano #pianomovers #pianomoverprice Show less

World-class Pianos, So-so Pianist Read the full article: More Lessons from the Piano in the Key of Life ▸ https://lttr.ai/AJ2EW #lifelessons #BabyGrandPiano

A little dive into the themes of Tchaikovsky's Piano Concerto No. 1, opening movement.🎹 What's your favorite passage? #tchaikovsky #pianoconcerto1 #classicalmusic #pianolovers #musicanalysis

How about the basic woodwind in the symphony orchestra, the recorder? They can be very basic or quite sophisticated; you may have played one in public or private school. The recorder has been around for ages, one of the earliest instruments. The recorder is a family of woodwind musical instruments in the group known as internal duct flutes: flutes with a whistle mouthpiece, also known as fipple flutes. A recorder can be distinguished from other duct flutes by the presence of a thumb-hole for the upper hand and seven finger-holes: three for the upper hand and four for the lower. It is the most prominent duct flute in the western classical tradition. Here is a Vivaldi Concerto that will blow your socks off, how a recorder can be the star of the symphony orchestra: https://lnkd.in/eAXKqKFB

GOOD EVENING WITH MUSIC OF KHATIA BUNIATISHVILI KHATIA BUNIATISHVILI CONCERTO NO 11 IN D MAJOR ON PIANO Khatia Buniatishvili Joseph Haydn Piano Concerto No 11 in D major, Hob XVIII 11 https://lnkd.in/eWQ2MvQw https://lnkd.in/gfFUbNRp I am so thankful to Western Classical Music for discovering Khatia Buniatishvili. Many thanks for discovering this gem. I've never seen it or heard of it. KB's performance is a refreshing change from the run-of-the-mill performances one usually hears of this piece. Unfortunately, Richter's performance is another example of the norm - heavy and ponderous - right from his initial entrance in the first movement you can feel the imposed force of gravity trying to give weight to a piece which doesn't need it. We rarely get to hear Khatia play Haydn and this is the first time we have had a live recording of her playing Haydn's Piano Concerto No 11 in D major, Hob XVIII-11. Because this is a rare gem I have let Khatia go first, but we still get to compare her performance with Sviatoslav Richter's version. Khatia's recording was with the Chamber Orchestra Kremerata Baltica and Richter's with the Minsk Chamber Orchestra. J. Haydn - Piano Concerto No. 11 in D major, Hob. XVIII/11, 1. Vivace https://lnkd.in/eDygngHN 1 Vivace 2 Un poco adagio 3 Rondo all'ungarese Khatia's performance, by contrast, is fluent and free from unneeded gravitas. The music floats on air, unimpeded by any unnecessary weight. KB's performances reveal, however, a possible negative influence on her playing - her technical ability is so great, that sometimes it's possible to detect a certain glibness in her playing, a feeling of condescension towards the material. I may be off base here, but this is a problem which one can detect in musicians with her extraordinary technical faculty. This was a problem with Gould, for instance, one which he never fully resolved, in my opinion. At times I can detect signs of it in KB, a feeling of superiority in relationship to the music. This attitude can cause a severe limitation in deepening the understanding of the music of a composer like Haydn, whose surface simplicity conceals an underlying complexity. It will be interesting to see how Khatia deals with this in the future. Thanks Khatia !! God Bless you !! Sudhanshu

GOOD MORNING AND A GOOD DAY TO YOU  !! SOME MUSIC AT DAWN TODAY ............   Sonata for two pianos in D major, K. by Wolfgang Amadeus Mozart (1756–1791)     W. A. Mozart - KV 448 (375a) - Sonata for 2 pianos in D major https://lnkd.in/dJhVMRvW     Mozart - Sonata for Two Pianos in D, K. 448 [complete] https://lnkd.in/dMnrzBQ4     Mozart - Sonata for Two Pianos in D Major, K. 448 https://lnkd.in/drKiuZ7e       It can’t be easy being a concert pianist: aside from the formidable technical demands and endless hours of practice, it can be a lonely life – you don’t generally play in orchestras; if you’re a soloist you’re on your own much of the time; you can’t even take your own instrument with you. Mozart would have known this all too well, touring as he did around Europe, playing one court’s random keyboard after another.     What a gift, then, that as well as writing for every other conceivable musical form he turned his attention to the relatively narrow genre of music for multiple pianists. (He also wrote a concerto for two pianos, one for three pianos, and plenty of duets for four hands.) I once heard a critic dismiss this as ‘pure entertainment’, which pretty much sums up why classical music has got an image problem. (Heaven forfend we should be entertained!) Mozart wrote it in 1781 for a pupil, Josepha von Auernhammer, who apparently had a crush on him. He was still a bachelor, but I hear no courtship ritual in its notes, no flirtation between the instruments: what I hear is a most beguiling musical depiction of the joys of friendship.     This sonata, by the way, is the piece used by the scientists who investigated the phenomenon known, for shorthand, as the ‘Mozart effect’. They found that listening to this music for just ten minutes each day could sufficiently rewire our brains to make us smarter. It could also help treat those suffering from epilepsy and other neurological conditions. The research is freely available online if you feel like diving in. Frankly, I’ll take any excuse to listen again.     MUCH LOVE Sudhanshu  

Concerto for Orchestra. Sounds contradictory, doesn't it? Isn't everything an orchestra plays a concert? But there's a specific way that composers think about the orchestra in a piece like this. Take Bartók, whose Concerto for Orchestra we currently feature. Traditionally, a Concerto has a solo instrument - piano, violin, etc. - but Bartók treats each _section_ of the orchestra with the same intensity and virtuosity of the solo instrument. It provides a different way of listening to an orchestra.

In the Concerto in G major K 216, the notable step forward made by Mozart and the detachment, the result of maturation, compared to the two previous concerts becomes evident. The inspiration and compositional technique are placed, here, on a higher level; here Mozart achieves, for the first time, a perfect balance between the instrumental panache required by a concert and the contained expressiveness of the music. The solo instrument is placed in the right emphasis, without however giving too much virtuosity. The bravura passages never go to the detriment of musical ideas, the high register is used sparingly, double string passages and other artifices of violin technique are almost completely missing. Also significant is the fact that the Concerto, like the two subsequent ones K 218 and K 219, ends with a piano, without making any concession to the exhibitionist ambitions of the soloist; in the final rondo the violin does not even take part in the last reprise of the ritornello. The brilliant instrumental effects, which are not lacking, are never an end in themselves, but rather subordinated to the quality of the musical ideas. https://lnkd.in/ecy6e_7G

Piano Removal: Quick Tips for Easy Moves Join us as we tackle the challenges of piano removal. In this video, we showcase our first job, moving two pianos in a single day. Learn helpful tips for making piano moves easier and more efficient! #PianoRemoval #MovingTips #ShortVideos #MusicGear #HowTo #HomeMoving #DIYProjects #EfficientMoves #PianoTransport #MovingDay