近期美国《pianobuyer》在官网上发布了2016年秋季刊特色文章《金斯波格三款琴测评报告》。

pianobuyer 一般会选一些品质好的，达到主编larry认可的才会进行测评

官网地址：http://www.pianobuyer.com/

该试琴评测由美国高级调律师larry先生以及他的学生2016年共同在美国的“德国钢琴城”完成。本文为对原文评测的复制以及翻译。

本文的翻译由Lisa和 Malinda提供。

AT A TIME when the price of a new, qualitygrand piano is often beyond the means of the typical family, a primary focusfor me in my work as a piano teacher is to find pianos that are suitable forstudents looking to upgrade from entry-level uprights, used pianos, or digitalkeyboards to higher-quality instruments. It was particularly interesting,therefore, to be asked to write this review of lower-cost models fromKingsburg, a brand that I hadn't played before, made inYantai,China.Three pianos — two verticals and one grand —were prepared for sampling at the nearest Kingsburg dealer,GermanPianoCity, in theLos Angelessuburb ofTemple  City. For this review, in addition to tryingscales, chord progressions, and some improvisation on each piano, I broughtwith me several pieces of music with which to test each instrument: Scarlatti'sSonata in D Minor, K.141; Handel's Chaconne in G Major; Haydn's Sonata in FMajor, Hob. XVI: 23; Granados's TheMaiden and the Nightingale; Chaminade's Concert Étude "Autumn,"Op.35 No.2; and Bolcom's GracefulGhost Rag. One of my adult students, Mary, joined me to offer herperspective.

在一台崭新的，高质量三角琴的价格往往高于普通家庭的消费能力，我作为一名钢琴老师而言，首要的责任是选择一台适合学生的钢琴，要从入门级的，二手的钢琴或者是电子键盘升级到高质量的钢琴。非常有趣的是，我需要写一份我本人以前从来没有弹过的产自中国烟台的金斯波格钢琴的乐评，是金斯波格钢琴的几个价格适中的钢琴。三个型号的钢琴----两台立式的和一台三角的----作为样品琴放到洛杉矶郊区天普市的金斯波格在美国的代理商-德国钢琴城。为了写这篇乐评，我除了在测试音源、和弦进行和即兴演奏，我还带了几首曲子来进行测试，譬如斯卡拉蒂的D小调奏鸣曲，K141,亨德尔的G大调恰空舞曲，海顿F大调奏鸣曲XVI: 23，格拉纳多斯的少女与夜莺；查米纳德的作品35第2号：音乐会练习曲“秋”，博尔科姆的Graceful Ghost Rag。我的一个成年学生-玛丽，和我一起并给出了她的想法。

Grand Model KG-158 (5' 3")

This instrument has an attractiveexterior look, its polished-ebony finish enhanced by an elegant, mahoganyveneer on the inner rim and a decorative, gold, braided-rope lining surroundingthe soundboard. The slow-close fallboard descends gently over the keys. I wasinitially impressed by the piano's clean, round sound quality — not overlybright or metallic. The instrument had been carefully prepped by thetechnician, so the touch was even across the keyboard.

这台钢琴有着非常吸引人的外观，高贵典雅的亮光黑色表面，内圈镶嵌优雅的桃花心木饰边，金色装饰线条环绕音板，缓降装置使得琴盖轻柔地盖在键盘上。清澈饱满圆润的音质音色给我留下了深刻的印象，不过亮或者感觉有金属音。这台琴经过技术人员精心的调整，整个键盘的触感非常均匀一致。

Damper-pedal changes were executed withpinpoint precision, augmenting the instrument's already good sustain. As thebrand-new hammers had yet to be broken in, the soft pedal had minimal effect inlowering the volume. The sostenuto pedal — an important feature of grand pianosnot available in most uprights — functioned well; students who study advancedrepertoire eventually need to use this pedal.

制音踏板的运行非常精准，极大的提升了已经非常优越的延音效果。因为崭新的榔头需要适应，弱音踏板有效的降低音量，选择性延音踏板-三角琴非常重要的特征（大多数立式琴中不存在）运行非常好，学生在学习高级别曲目时总会用到这个踏板

My primary reservations were with theinstrument's narrow dynamic range and overly light touch, both of which addedto the effort required to produce a wide palette of tonal colors. It took quitea bit of strength to coax a fortissimo fromthis piano; I can imagine that the average student might struggle to project abig sound. After playing the instrument, my adult student, Mary, arrived at asimilar conclusion. Furthermore, while the bass remained rich at the louderdynamic levels, as I played harder, the treble grew more brittle and tinny. Iexpect, however, that as the hammers become harder with use, it will be easierto produce a bigger sound.

我对这台琴的唯一保留意见是它的动态范围有点窄，整体触感有点轻，需要加强力度一些才能演绎宽广丰富的音调色彩，我觉得可能一般化的学生可能比较费力一点。弹奏完这台钢琴后，我的成年学生-玛丽-得出了相似的结论。另外，当低音还在较高音量时，越用力高音显得薄一些，我想随着弹奏使用，榔头变得更硬，会更容易发出大点厚点的声音。

The Granados piece requires a wide dynamicrange and finesse in its many dream-like passages. As I played through it,though I found the tonal colors acceptably complex, it took intense listeningand experimentation with different touches to achieve the necessary gradationsof volume and tone. Nevertheless, I was able to satisfactorily bring out the differentmusical voices in its chords.Chaminade's "Autumn" is also a studyin dynamic contrast. The opening and closing sections are lyrical and tranquil;the intense middle section depicts an autumn storm. While I found ampleprojection for the virtuoso middle section's fast chords, it was harder tocontrol the softer ranges between mezzopiano and pianissimo inthe opening and closing sections. The piano's touch was so light to begin withthat it left little physical or interpretive space in which to go from light tolighter to lightest.

格拉纳多斯的曲子在其许多梦幻般的章节需要较宽的音量动态范围和技巧，在我弹奏这些曲目时，我发现虽然音色综合可以接受，但需要集中精力并尝试不同的触键方法来达到音量和声音的渐变，但是我还是能够令我非常满意地从其和弦中展现出不同的有音乐性的声音。查米纳德的“秋天”也是一个对力度对比的研究，开头和结束的部分是抒情和宁静的，强烈的中间的部分描述了秋的暴风雨。我发现艺术家中间部分的快速和弦的展现很丰富，但是在该曲的开头和结尾部分中，稍弱和最弱音的柔和部分比较难以控制。钢琴的触感太轻，所以在开始后没有足够的空间去诠释从轻到更轻到最轻。

The Haydn and Scarlatti pieces require cleanpassage work and fast runs. I was able to produce the desired Classical claritywith the Haydn — runs came fluently and effortlessly — but the fast repeatednotes of the Scarlatti posed a technical difficulty with this piano. For mytaste, the keys didn't seem to return quickly enough.

海顿和斯卡拉蒂的曲子需要干净的中间段和快速跑动，我能够使用该琴演绎想要的的古典清晰度-海顿曲子的跑动流畅毫不费力---但是斯卡拉蒂快速重复的音给这台钢琴提出了技术难题，我的感觉是这台琴的回键还是不够快。

I had only enough time to try the first page ofthe Bolcom rag, which is filled with big chords and octaves. Once again, thepiano satisfactorily responded to my chord voicings; however, even with precisepedaling, the overall effect lacked the tonal complexity and richness suggestedby Bolcom's textured writing.

我的时间只能够弹博尔科姆的第一页，这里边充斥了大和弦和八度，这台琴再一次完美地表现出了我的和弦声音；不过尽管有精准的踏板，整体效果上还是无法完全体现出波尔卡姆曲谱要求的音调复杂性和多样性

My overall assessment of the KG-158 is that,priced in the same range as many Japanese uprights, it offers terrific value.With a true sostenuto pedal and grand-piano action, it would be a dramaticupgrade for the typical student currently playing an upright piano. My advice,however, is to have the hammers voiced, and the action adjusted for a heaviertouch, to make available to the player both a wider dynamic range and more subtlegradations of dynamics within that range.

我对这台KG-158钢琴的整体评价是在与同价位的很多日本琴同等相比，这个琴体现了很高的价值。配备了真正的选择性延音踏板和三角琴专业击弦机，这将是现在学生普遍弹奏的立式琴的戏剧化的提升。我的建议是，对榔头在进行整音，击弦机再进行调整，从而达到更重些的触感，从而给弹奏者一个更宽的音量动态范围，并在这个范围内有一个更敏锐的力度的渐变。

 Upright Model KF-133 (52")In contrast to the grand, my immediate reactionto Kingsburg's top upright model was to its powerful sound — so powerful that Ihad to close the lid to gain some control over the sound quality. The tone wassolid but never shrill. I was pleasantly surprised by the soft pedal, as itsubstantially lowered the dynamic level without compromising the richness ofsound. With this instrument, I was able to play scales and chord progressionsclearly.

与三角琴相比，我对金斯波格钢琴顶级的立式琴的第一反应是声音强劲有力---如此强劲以至于我不得不把顶盖合上来控制音量，声音厚实但是不会刺耳。我对那个弱音踏板很满意，因为它可以大大降低力度水平而不影响声音的丰富性。借助这台琴，我可以清晰地演绎它音阶和和弦行进。

The Haydn sounded great on this upright, whosestout tone suited Classical sonatas to a T — and its clarity was stunning. Theability of the Scarlatti's repeated notes to repeat fast enough was a littlesuspect, but the keys responded with more consistency and reliability than onthe KG-158. The quiet moments of the Granados sounded lovely on the KF-133, andthe dynamic range was amazing. What a magnificent instrument!！

海顿的曲子在这台立式琴上演绎的很好，它结实的声音很适合古典奏鸣曲，恰到好处--它声音清晰度惊人。演绎斯卡拉蒂的重复音，是否有能力足够快，我有些迟疑，但是它的琴键反应快速性、一致性和可靠性比KG-158要好。在KF-133上弹奏格拉纳多斯的安静时刻听起来很动听，它的动态力度范围很让人惊奇，这是一台多么让人惊叹的钢琴！！

This piano sang nicely. The Handel Chaconne isa set of variations on a chord progression, each variation projecting adifferent character and requiring various levels of cantabileplaying and polyphony. In the KF-133, I found plenty oftonal richness without having to sacrifice clarity. Its damper pedal gave notesa gorgeous sustain and executed changes with precision, the latter a blessingwhen playing Baroque music.

这架钢琴歌唱性很好，The HandelChaconne是一组和弦行进的变奏，每一个变奏都彰显不同的特点，显示出如歌的演奏及不同层次的复调。在KF-133上，我能发现很大程度音调音色的丰富性而又不需要牺牲它的清晰性。它的制音踏瓣使音符华丽地延展且有精准的变化，是演奏巴洛克音乐的福音。

I asked Mary to play a piece so that I couldwalk around the showroom and listen to the piano from different angles anddistances. The sound was spectacular from anywhere in the room. This muscularinstrument could instantly make a student sound larger than life. In any piano,I typically look for consistency of touch — very important for developingpianists studying at the intermediate level. For an upright, the KF-133 had adecent touch and offered an acceptable level of finger control.我让玛丽弹奏一首曲子，这样我就可以在展厅周围从不同的角度和距离来听，这种来自房间里的任何一个地方的声音真的很动人。这种强劲的乐器可以让学生一直感觉到比生命更强的声音。在任何一架钢琴中，我都试图找寻触键感的一致性，这对于钢琴中级水平的学习者来说真的很重要。对于立式琴，KF-133有适中的触键感且手指非常容易控制。

The KF133 has a lot to offer, musically andartistically. My two biggest concerns were with its overall loudness and thedesign of its music rack. The loudness could be a problem in a small room, orin attached housing, where neighbors might be disturbed. The music rack isunusual for an upright: substantially higher than most, it's placed about wherea grand piano's music rack would be, and, like a grand's, it can be movedforward and back. However, the design of the KF-133's music rack sets books atan awkward angle, and could prevent thicker books from lying flat when open. Inaddition, a lip at the front of the shelf, undoubtedly designed to preventsingle sheets of music from slipping off, could interfere with turning the pagesof thicker books.

KF133琴无论在音乐上，还是在艺术上都能给我们带来很多。我最关心的两点是它的整体音量和谱架的设计，它的音量在小房间或附属房屋中可能会是个问题，可能会打扰邻居。谱架对于立式钢琴来说，不同寻常。比大部分都高，位于三角琴谱架应该在的位置，和三角琴类似，可以前后移动。但是这个琴的谱架设计将乐谱置不便的角度，在较厚的谱子打开时会影响平整。另外，谱架前边的舌头，毫无疑问可以避免单张谱子滑落，但另一方面也阻碍了其它厚的谱子的翻页。

Upright Model KG-125 (50")A smaller member of Kingsburg's KG series, theKG-125 had a comparatively mellow tone.The piano's medium touch is ideal for Haydn andother Classical repertoire, and perfect for students just starting to learnsonatinas and Czerny exercises. I could play through fast passages withouthindrance.

稍小点的金斯波格钢琴的KG系列中的“成员”，KG-125拥有相对柔和的音色，钢琴的适中的触键感对海顿以及其它古典曲目来说是非常理想的，并且对于学生来说，特别是刚开始学习的小奏鸣曲和车尔尼练习曲来说，是不错的选择，我用金斯波格钢琴演奏快的章节没有任何阻碍。

Unlike the music rack on the KF-133, theKG-125's rack is on the middle of the fallboard. The fallboard's top rail foldsdown, creating a continuous flat surface for books to lean against. With thisconstruction, it's easy to write comments on music during practice or teaching.

不同于KF-133的谱架，KG-125的谱架在摇盖的中间。摇盖可以折叠的功能造就了谱子可以倚在一个连续的平面上。由于这种构造，使我很容易在教学和弹奏中写乐评。

Even with its many big chords, Bolcom's ragsounded modest on this piano, with a nice level of control and depth of colors.I had to work a little harder to achieve the balance of voices in the lyricalsection of the Chaminade — it took a few attempts to find the softest touch atwhich sound could be produced on this piano without notes dropping out. I alsofound the repeated notes in the Scarlatti difficult to produce: there wasalmost a slight lag in the keys' response. Similarly, I had to work hard tofind the right touch for the Handel, as how to bring out on this piano theChaconne's simultaneous musical lines was not immediately obvious. However,with more practice, I found myself able to adjust to the instrument's touch.

即使是拥有许多较大的和弦音，博尔科姆的曲子在金斯波格钢琴的弹奏保持了适中的声音，控制和色彩深度良好。我努力尝试Chaminade抒情部分的声音效果，尝试了数种方法从而找到最柔和的触感从而在这台琴上演绎出来但又不脱音。我也发现Scarlatti曲子中的重复音部分难以演绎，键的反应稍微有点滞后，我需要费点力气找到合适的触键感来演绎亨德尔的曲子，同样，花费点功夫找到查米纳德的音乐线条。再经过稍多点的练习，我发现自己能找到这台琴的演奏感觉了。

Mary mentioned that the damper pedal didn'twork efficiently. On closer inspection, I found that the KG-125 produced a lotof echoes, especially in the treble section. The higher the register, the moreechoes I heard. The highest octave of notes sounded like tiny bells ringinginside a hollow box.Overall, the KG-125 worked as an entry-levelinstrument for the serious beginner. It delivered an acceptable range ofdynamics with a touch that was neither too stiff nor too light. The pianosatisfied the demands of repertoire up to and including the intermediate levelof difficulty. 

玛丽认为制音踏板不是很好，在进一步的观察检测后，我发现KG-125产生很多共鸣，特别是在高音区，高音区越高越明显，最高八度的音符听起来像一个空盒子里的小铃声。总体上，KG-125对于初学者来说是一个相当级别的乐器。它提供了良好的触键感力度，不太重也不太轻；KG-125可以满足全部曲目的演奏，包括中级难度的曲目。