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Existing 97 and 102 key pianosSince 1992, Stuart & Sons have been constantly increasing the ambitus or frequency range of their pianos. This has been driven by technological advances in music wire, materials technologies and compositional and performance fashion. The company ethos is: To Explore The Possibilities, in a practical sense this means to constantly strive for excellence in innovation and design. We believe that something that can easily last a century should remain relevant and be designed and realised at the forefront of its capacity not as an object of reproduction of proven form.
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The Beleura - Concert Grand
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Extended KeyboardsSince the beginning of music, composers have written beyond the imposed frequency limitations of their time. Stuart & Sons are respectful of composers whose vision extends beyond the 88 digits of the late 19th century. Stuart & Sons recognises that once a composition is written for a range greater than the so called norm it is the duty of the instrument maker to realise that range if it is at all practically possible. Therefore, given the advanced wire of Stephen Paulello, a contemporary French piano maker, it was inconceivable to limit these new generation pianos to 88 keys but rather, to aim for the ultimate goal of 9 octaves for the chromatic scale.
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Four PedalsThe notion that a piano should have x number of pedals is curious. Historically makers have incorporated numerous pedals with various functions. Simply, the two left pedals in Stuart & Sons pianos modify the dynamic and textural aspects of the sound by 1. reducing the travel distance of the key and hammer and 2. reducing the number of strings struck. These pedals can be taken independently or simultaneously. Neither of the dynamic control pedals require full depression but should be applied and operated as the ear and taste of the performer dictates.
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Stuart Bridge AgraffeVertical string coupling is at the core of the Stuart & Sons design concept. A special device (agraffe) is used to couple the strings to the bridge and soundboard structure. The agraffe defines the strings' speaking lengths (frequency) and contains the reaction forces produced by bending the strings as they pass through it. This negates the need for string down bearing that is required in the traditional pinned bridge system. The soundboard can thus be designed on a speaker cone principle and not as a load bearing structure as is the case in the standard piano. This scientifically designed device encourages the strings to vibrate in a more controlled manner improving the
dynamic range, increasing sustain and significantly improving tonal clarity sympathetic to the entire piano repertoire. |
Composite MaterialsSince 2007 composite materials have been carefully inculcated into the overall design and building process where distinct advantages are sought. One such area is the large lid of a 108 key concert grand. The lid is reinforced with carbon and glass fibre to increase strength and reduce weight. In areas where climatic variations may change moisture content material combinations are employed to increase stability.
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Unique TimbersThe tradition of decorating harpsichords, both the case and the soundboard, died out with the advent of the piano. In particular, 20th century practice has led to most concert grand pianos being painted black, which only serves to emphasise their overall sameness of design and sound, irrespective of brand. Stuart & Sons has always chosen to enhance the uniqueness of their pianos by the use of rare and exotic timbers such as red cedar, huon pine and blackheart sassafras. This is not only aesthetically pleasing to the eye but also adds significant long term investment value to these pianos over and above the staid and somewhat boring black of so many staid and boring pianos.
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