Pianist Jorge Bolet always emphasised to students that the melody must be heard. That's what the audience is paying for, and not the accompaniment.

Jorge Bolet's piano technician 10 February 1987 Manchester Free Trade Hall, England Liszt 2 BBC Philharmonic Orchestra/Bernhard Klee The Manchester Evening News (10 February 1987) mentions piano technician Denijs de Winter and the Bechstein brought from Europe. “The C.Bechstein model D-280 [the company’s flagship 9-foot-2-inch (280 cm) concert grand] used for recordings with Jorge Bolet in London was not based in London. The instrument belonged to Pianomobil in Belgium. This

I've just come across this substack article by a former student of Jorge. I've included a a couple of excerpts here but this is the link to the source. Five Years With A Legendary Musician The greatness - and oddness - of an immortal pianist Glenn Winters January 16, 2026 He was not a warm teddy bear As a skinny excited freshman piano major at Indiana, I was gobsmacked and totally star-struck to be accepted into Bolet’s studio. I knew all about him - we had a copy of the Son

Learn the secrets of pianist Jorge Bolet's use of the pedal when playing the piano.

Susan Goldenberg, Steinway from glory to controversy: the family, the business, the piano (1996), 147 claims that Jorge Bolet had been introduced to Baldwin pianos by Serge Koussevitzky [in the 1950s?]. 'After Baldwin sold the Bechstein line, it air-freighted an SD-10 to Europe for a 26 city tour by the internationally, acclaimed, pianist, Jorge Bolet. Bolet and SD-10 drew rave reviews, enabling Baldwin to gain a foothold in Europe.' This particular tour was in the mid-1980s

LISTEN I had occasionally wondered whether Jorge Bolet played the arpeggios of Un Sospiro completely in the left hand, thus being able use the right hand for the unbroken melody, i.e. not using alternate left and right hands for the individual notes. Mattheus Smits, a friend of Jorge Bolet, has confirmed to me that he didn’t cross hands when playing this piece. “In general Jorge disliked crossing hands: too much movement for, in this case, no use at all.” "In Un Sospiro Jorg