An experiment aiming to highlight the relationship between the pianist’s gesture and sound production was performed in an auditorium dedicated to orchestral music. Four pianists from different backgrounds and styles performed four pieces of Kinderszenen, op. 15 (Scenes from Childhood) by Schumann, which show both musical homogeneity but also a great variability of sound atmosphere. The capture of the sound signal inside and outside the piano was performed in order to extract identifiers by signal processing and to perform listening tests of those carried out in the field of psychoacoustics. Simultaneously, the pianist’s gestures were recorded by a motion-capture system composed of ultrasensitive high frequency cameras. The pianists were instrumented with reflective markers placed on a no reflective suit or directly on the skin in the case of hands and fingers. The first of psychoacoustic’s test results show that the occurrence of timbre attributes is coherent of those found in the literature.