For a solo piano recital, servicing emphasizes maximum projection, brilliance, and responsiveness to showcase the piano alone. For chamber music, servicing prioritizes balance, blend, and tonal warmth so the piano integrates seamlessly with other instruments rather than dominating them.
Key Differences in Piano Servicing
1. Voicing & Tone
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Solo Recital:
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Bright, clear treble for projection.
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Strong bass resonance to fill the hall.
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Voicing adjusted to highlight dynamic range and virtuosity.
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Chamber Music:
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Softer voicing to avoid overpowering strings or winds.
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Warm midrange for blending with other timbres.
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Controlled brightness so articulation matches ensemble texture.
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2. Regulation & Touch
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Solo Recital:
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Action regulated for maximum responsiveness and speed.
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Slightly heavier touch tolerated to support powerful dynamics.
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Chamber Music:
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Even, consistent touch across registers for subtle ensemble playing.
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Regulation favors smooth legato and controlled pianissimo passages.
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3. Tuning Priorities
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Solo Recital:
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Tuned for brilliance and stability across the full keyboard.
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Stretch tuning optimized for solo resonance.
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Chamber Music:
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Tuning adjusted to blend with non-equal temperament instruments (e.g., strings, winds).
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Focus on warmth and harmonic compatibility rather than sheer brilliance.
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4. Pedal Preparation
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Solo Recital:
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Sustain pedal calibrated for long resonance and dramatic effects.
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Una corda adjusted for strong tonal contrast.
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Chamber Music:
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Pedals regulated for subtle shading.
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Una corda used more for blending than dramatic solo color.
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5. Venue & Acoustic Considerations
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Solo Recital:
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Piano prepared to project in larger halls.
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Technician may emphasize clarity to cut through reverberation.
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Chamber Music:
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Servicing tailored for intimate spaces.
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Technician ensures piano doesn’t dominate but supports ensemble balance.
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Piano tuning for chamber music must be done with great care as every of the 88 keys must be harmonized with other instrument. Or else the music will simply turn into noise.
The pianist therefore emphasized that the piano had to be tuned to A440.
Today, I am glad to be able to meet these 3 very fine musician when I came to do tuning for this chamber music concert:
Performing Artists in this Event
Piano ~ Tea Lomdaridze:
Tea Lomdaridze is a Georgian-American pianist celebrated for her international concert career, chamber collaborations, and advocacy of her father Elizbar Lomdaridze’s compositions.
She has performed with major symphony orchestras in the United States and chamber ensembles across Europe and Russia, earning recognition for her versatility and expressive interpretations.
Cello ~ Artem Konstantinov
Artem Konstantinov is a Russian-born cellist, conductor, and composer who has become a prominent figure in Asia’s classical music scene.
He is known for his virtuosity, versatility, and leadership in both performance and education. He worked with legendary cellists including Mstislav Rostropovich, Natalia Shakhovskaya, Alexander Rudin, Kirill Rodin, and Rocco Filippini.
He is also the winner of multiple international prizes, such as the Russian National Cello Competition (1997) and awards in Italy and Moscow.
Clarinets ~ John Schertle
John Schertle is the Co-Principal Clarinet of the Hong Kong Philharmonic Orchestra, a versatile performer equally at home on B♭, E♭, bass clarinet, and basset horn. He has been a central figure in Hong Kong’s clarinet scene for over two decades, combining orchestral leadership with teaching and international guest appearances.
He graduated from the Eastman School of Music and the Juilliard School. He is the winner of the National Arts Club Competition in New York
In Hong Kong, when a piano technician services a concert instrument that is not owned by their company, the main legal concerns are liability, contractual responsibility, insurance coverage, and venue compliance. The technician must ensure clear agreements with the piano owner or concert organizer to avoid disputes over damage, performance quality, or safety.
Key Legal Concerns in Hong Kong
1. Ownership & Permission
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The piano belongs to a third party (venue, rental company, private owner).
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Written authorization is essential before a technician performs tuning, regulation, or voicing.
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Without explicit permission, servicing could be considered unauthorized interference with property.
2. Liability for Damage
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If the piano is damaged during servicing, the technician may be held personally liable unless a contract specifies otherwise.
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Contracts should clarify:
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Who bears responsibility for accidental damage.
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Limits of liability (e.g., technician not responsible for pre-existing defects).
3. Insurance Requirements
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Public liability insurance is often required by venues (e.g., LCSD-managed halls like Cultural Centre or City Hall).
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Technicians should confirm whether the concert organizer’s insurance covers instrument servicing, or if they need their own professional liability policy.
4. Contractual Agreements
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A service contract should be signed between technician and organizer/owner, covering:
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Scope of work (tuning, voicing, regulation).
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Timing (pre-concert, rehearsal, performance day).
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Payment terms.
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Liability clauses.
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This protects both technician and organizer from disputes.
5. Venue Compliance
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Hong Kong venues often have house rules:
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Only approved technicians may service pianos.
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Work must be scheduled during designated access hours.
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Safety protocols (e.g., moving instruments, stage setup) must be followed.
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Breach of venue rules can result in penalties or exclusion from future work.
6. Consumer Protection & Misrepresentation
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If a technician is contracted by an organizer but misrepresents their qualifications, this could fall under Trade Descriptions Ordinance (Cap. 362) in Hong Kong.
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Technicians should ensure they present accurate credentials and certifications.
湯 先生/ Mr. Tong
英國註冊鋼琴技師 / Registered Piano Technician (MPTA)
Mobile / Whatsapp: 6304 4081
Website: www.tongtuning.com
Blog: www.tongtuning.com/wordpress
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