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9b - Liszt's favorite Boisselot piano, copy by Paul McNulty. The original is the property of Klassik Stiftung Weimar
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10 - Boisselot copy by Paul McNulty in Palace Museum Weimar. The original piano in background
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1 - Liszt's favorite1846 Boisselot piano, which he played for almost 40 years - now in his house-museum, property of Klassik Stiftung Weimar
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11 - Boisselot piano copy arrives at Palace Museum Weimar
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12 - Boisselot piano copy by Paul McNulty arriving in Weimar
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13 - MDR TV filming Viviana Sofronitsky and Boisselot copy by Paul McNulty
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14 - Viviana Sofronitsky and Sergei Istomin with Boisselot copy
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17 - Paul McNulty with original Liszt's Boisselot piano
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16 - Nameplate of Liszt's personal favorite Boisselot
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15 - Liszt's own Boisselot piano
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8 - Viviana Sofronitsky with Liszt's piano, copy by Paul McNulty
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9 - Viviana Sofronitsky with Liszt's piano, copy by P. McNulty
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4 - Paul McNulty with his copy of Liszt's Boisselot
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5 - Paul McNulty with his Boisselot copy
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6 - Viviana Sofronitsky and Paul McNulty in their workshop
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7 - Viviana Sofronitsky and Paul McNulty at his copy of Liszt's piano
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Fitting soundboard to rim
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Ribs prior to carving
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Rib assembly
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Installation of soundboard corner segment
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Soundboard installation
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Boisselot has cleverly arranged to fit the longitudinal brace within the wooden transverse braces, weakening neither.
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this transverse brace will later be capped with wood, restoring its strength
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bracing is located under the soundboard, changing Boisselot's earlier choice to notch out the bridge for placement of iron braces above the string plane.
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steel braces & oak frame, carefully designed to hold 13 tons of strain.
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these struts are held in brackets above the damper mechanism (not seen).
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corpus in progress
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locating case on drawing
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detail of reinforcement
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pinblock before assembly
