The magnificently-elevated church organ in the slightly tacky but much underrated German film Nichts Bereuen, which features Daniel Brühl in the lead role, is set in such wonderful surroundings as to suggest a proximity to heaven and, hence, to all metaphysical aspirations, a proximity only to be encountered in such idealistic churches, and which suggests – though this was not evident from the film – the desirability of a subordinate complement in the guise of a large upright piano, analogous to a contiguously-encircled absolute star, or pseudo-superstar, for some lady in a straight dress to play upon largely for the benefit, one suspects, of other ladies, and perhaps even children, at times when the organ is not being played for the benefit, I would argue, of the more metaphysically-inclined male members of the congregation, who would most likely be mature adults. Here, with both a large pipe organ aloft, or so-called loft organ, and a large upright piano below, one would have a parallel, it seems to me, with St. George and the Dragon, the neutralized she-dragon, as it were, that would rather contrast with anything metaphysical, since effectively pseudo-metachemical in character and status.
How far removed such upright pianos are from the free female criteria characteristic of grand pianos! Not least the large, or 'full', grand piano with open lid that suggests a metachemical parallel suited to somebody in a flouncy dress who, on an elevated platform, or stage, would be hegemonic over a pseudo-metaphysical 'fall guy' (for slag) and effective 'sonofabitch' playing, down below in the orchestra pit or even at floor level, a large accordion for the (dubious) benefit not so much of free females of a higher order as of pseudo-bound pseudo-males, whose symbolic status may well be analogous to a kind of contiguously-encircled absolute cross, or pseudo-supercross, like the CND emblem, under what is, in effect, a free absolute star, the antithesis, atomically and gender-wise, to the magnificent church organ alluded to above, which, if not exactly on the ideological level of a Y-chromosomal-intimating supercross, is still arguably the closest instrument to one within a conventional religious context.
But, of course, where there is a metachemical/pseudo-metaphysical vis-à-vis metaphysical/pseudo-metachemical antithesis, you are also likely to find an even more prevalent chemical/pseudo-physical vis-à-vis physical/pseudo-chemical one down below, as it were, in the guise of small, or 'baby', grand pianos/small accordions (with or without buttons) vis-à-vis small ground-floor organs and small ground-floor upright pianos, where the opposite gender positions are less noumenal (as above) than phenomenal, less ethereal than corporeal, and therefore more given to volume and mass, as to volume/pseudo-mass vis-à-vis mass/pseudo-volume, than to space and time, as to space/pseudo-time vis-à-vis time/pseudo-space in the aforementioned contrast of large grand pianos/accordions vis-à-vis large church organs/upright pianos.