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Having been honoured with the Merit Award in Gold of the Province of Vienna, Yamaha Corporation Director and Managing Executive Officer Hiroo Okabe attended an award ceremony held at Vienna City Hall, Austria, on May 30.
n June 18, a press conference on Mr. Okabes receipt of the award was held at the Foreign Correspondents Club of Japan in Tokyo, which was attended by around 80 people, including members of the Japanese and foreign media and people connected with Bsendorfer and the sterreichischJapanische Gesellschaft (Austria-Japan Society). In his presentation, Mr. Okabe touched on Yamahas attitude toward craftsmanship and stated his determination to preserve the traditional Viennese Sound in the years to come. After the press conference, a mini-concert was held, and Yamaha Artist Chiharu Sudo gave a performance on a limited edition Bsendorfer model that commemorates the 150th anniversary of the artist Gustav Klimts birth.
Viennas Executive City Councillor for Cultural Affairs and Science, Andreas Mailath-Pokorny, with Mr. Okabe at the award ceremony. |2
E D I T O R I A L
Editorial
Dear Reader,
am now in my second year as Managing Director of Bsendorfer. It has been a very busy time. We have expanded our standard range by the addition of a 155 grand piano and a new 120 upright. Both models have received excellent reviews and increase the choice for those seeking to experience our wonderful Bsendorfer sound. In addition to these models we introduced new limited edition models for those collectors amongst our customers, and for those looking for a special cabinet design. 2011 saw the Liszt anniversary model, 2012 the Klimt. 2013 (our 185th anniversary year) will see more exciting creations. uality is a journey not a destination and we continue to focus on ensuring we make the best possible pianos. Our 214 model has had a successful internal redesign that has significantly opened up the mid treble area.
hope that you enjoy this issue there are interviews with two dramatically different Bsendorfer Artists Paul Badura Skoda, the holder of the Bsendorfer ring, who enjoyed his 85th birthday performing on a Bsendorfer 290 in the Beijing Forbidden City Concert Hall and the German singer-songwriter, Konstantin Wecker.
here is a wide range of other articles we hope you find interesting for example one on Beethovens mind by American Peter Takacs (who recently recorded all 32 piano sonatas on a Bsendorfer). There is also manufacturing information about our flagship 290 model and our new 120; references from some important institutions, and various news items from around the world about our activities and successes. Viel Freude,
e continue to focus on expanding our markets and this year we exhibited at the Shanghai music show for the first time. Apart from Europe and North America we see increased activity in many other markets.
Contents
Director Okabe Receives Merit Award in Gold ........................... 2 Editorial Imprint ................................................................................... 3 1000 Concerts with Bsendorfer ..................................................... 4 The First Bsendorfer Festival in Thailand ................................... 6 Art M Concerts ........................................................................................ 6 Valentina Lisitsa at the Royal Albert Hall ..................................... 7 New Concert Hall for the Vienna Boys Choir ............................. 7 Paul Badura-Skoda Insights and Recollections ....................... 8 The Mind of Beethoven ..................................................................... 10 Testimonials ............................................................................................ 12 Celebrating 40 Years of Porsche Design ...................................... 13 Tradition Meets the Future: Bsendorfer at Google ............... 13 Factory: The Imperial Grand ............................................................ 14 New Bsendorfer Model 120 ........................................................... 16 The World of Flower Artist Shogo Kariyazaki ............................ 17 19th International Johannes Brahms Competition .................. 18 In Conversation with Maestro Zubin Mehta ............................ 18 Celebrating 25 Years of the Salzkammergut Festwochen Gmunden ..................................... 19 Attersee Klassik 2012 ........................................................................... 19
Imprint Editor, media proprietor, publisher: L. Bsendorfer Klavierfabrik GmbH, Bsendorferstrae 12, A-1010 Vienna, Tel. 01.504.66.51-0 Design and layout: FineStudios e. U., Wien. Produced and printed in Austria. Distribution: self-distribution to Bsendorfer friends and interested parties. Editorial office address: L. Bsendorfer Klavierfabrik GmbH, Attn.: Monika Frank, Gymelsdorfergasse 42, A-2700 Wr. Neustadt. Senior editor: Monika Frank, Simon Oss. Authors: Marion Alexander, Ferdinand Bru, Kwang Rae Cho, Corporate Communication Div. Yamaha Corp., AnneSophie Desrez, Prof. Martin Hughes, Brian Kemble, Mitsuyoshi Kimura, Dominique Meyer, Simon Oss, Pressezentrum Porsche Museum, Prof. Michael Schfer, Daniela Seeber, Yoshi Suzuki, Pimwadee Wakama, Markus Walther. Photos: Archiv Hochschule fr Musik u. Theater Mnchen, Archiv Mari Sato, Ufuk Arslan, Guan Changxin, Christoph Edtmayer/Arnold Schnberg Center, Stephen Frak, Rudi Gigler/SalzkammergutFestwochen Gmunden, Mitsuyoshi Kimura, Metha Kosolsathit, Harri Mannsberger, Michael Maritsch, Martin Moravek, David M. Peters, Michael Phn/Wr.Staatsoper, Jones Rosen, Peter von Seherr-Thoss, John Seyfried, Rupert Steiner, Yoshi Suzuki. Cover: David M. Peters. Translation: Albert Frantz. Primary direction and disclosure according to media law: Magazine for persons interested in music and friends of Bsendorfer in Austria. Errata and printing errors, etc., including price quotations, excepted. No liability is assumed for unsolicited pictures and manuscripts submitted. Reprints permitted exclusively upon written consent of the publisher. All rights reserved. Contributions marked by name present the authors opinion, not always that of the publisher. No legal action will be countenanced for sweepstakes.
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I n t e r v i e w
The singer-songwriter, composer, actor, and author, Konstantin Wecker, found time during his concert tour Wut und Zrtlichkeit (Rage and Tenderness) for an interview with Markus Walther.
Bayr. Rundfunk / Ralf Wilschewski
The singer-songwriter Konstantin Wecker an avowed Bsendorfer fan. BSENDORFER: You once mentioned that you write your songs in a Brahmsian or Schubertian style. What do you mean by that? Konstantin Wecker: No, that may have come across wrong. When composing, I orientate myself rather towards the classical lied, to Brahms and Schubert. And in many songs I perhaps have a proximity to Brahms; a musicologist also confirmed that for me. Yet I dont compose like other songwriters who have a melody and then write a song text to it. Some of my colleagues come from the French school, such as Reinhard Mey he comes from French chanson; Johannes Wader, like most, comes from American songwriting. Of these colleagues, Im the only one who comes from classical music and Italian opera. This plays a major role, since my father was an opera singer and as a boy I always sang with him. I still have nearly all the female voices of Italian opera down pat (laughing). Thats why I had a cello in the beginning; that was very important to me and also unusual.... You have to imagine that in the 70s everything was minimalistic like Johannes Wader, who wanted to be so minimalistic that six strings on the guitar were too many. He wanted to have only three strings, not move, and not even address the audience; only the content should count. It was an overly politicised era. And then a guy like me, with an entirely different type of pathos and music, approached people. That was already definitely unusual back then.
BSENDORFER: In your songs you address current and critical topics. What do you wish to accomplish by doing so? Konstantin Wecker: Forty years ago, I showed up to change the world with my songs; that is the goal of every singersongwriter. We love and live utopia, after all. But when I look at the world today... I didnt do it; Its not my fault... BSENDORFER: Youre in the middle of your concert tour Wut und Zrtlichkeit. You released this original album after a sixyear break. Why such a long time? Konstantin Wecker: Thats a good question. Nothing significant occurred to me. For song texts, as much as playing and composing music is a pleasurable activity, writing texts is hard work. The texts have to permeate through me and also surprise me. I often have to get away for a period, until I get everything down; thats a difficult struggle more often than not. Its different in the case of the music. You can give me a phone book and Ill set it to music. Ive never had a problem with that. BSENDORFER: In your songs you address political and human problems. Given so many problems, is there a meaning of life? What is it for you? Konstantin Wecker: Of course theres a meaning of life, but I wont give it away even if youre expecting it so eagerly. If this meaning didnt exist in some form... Im not telling you because I cant express it in words. In my opinion, for a reasonable and intelligent person, the ultimately important things around which life revolves are where do we come from, where are we going, why are we here ? The philosophical questions these cant be solved with the aid of thinking anyway. These can only be experienced via intuition, in mystical encounter, in mystery. As much as I am an atheist as a person of reason, as a mystic Im entirely fraught with godliness. Hence, via non-thinking we experience something of the ultimate questions, but surely not via thinking. As fascinating as this is and as much as we need thinking.... I studied philosophy for a long time, which was incredibly fun, but I had not experienced what I had hoped for before I commenced my studies. Of course, you train your mind wonderfully by studying philosophy. Thats already very good. BSENDORFER: This year, you received the Reif & Bekloppt (Mature & Crazy) Prize from the Prix Pantheon Cabaret Awards. What were your initial thoughts on it? Konstantin Wecker: That they wanted to make a fool out of me. Then I found out whos already received this prize and I thought, wow, thats a real honour. Its also a very good and very honourable prize. Youre right: If like me youve been onstage for forty years with that much maturity, if youve sought to change the world for forty years and all of a sudden you notice that you cant, youve got to be crazy. From that perspective, its an important title. BSENDORFER: You sing Human dignity is subject to financing. Human dignity is inviolable, according to German law. What is your understanding of human dignity?
Konstantin Wecker: My understanding of human dignity is that you look after refugees so that they arent forced to live like the poorest sods;that you stop with this Hartz IV rip-off. By human dignity I also understand that you take these psychopaths who are currently letting our financial system go south and they can only be psychopaths, who speculate with foodstuffs even though millions of people are starving that you simply forbid this from continuing. All of this is very simply expressed, yet this monstrous injustice that is looming right now, this has nothing more to do with human dignity although were still doing very well in Germany and Austria. As I read yesterday in your newspaper, 78% of Austrians are happy and were also doing well in Germany. Yet in this case thinking isnt enough: What is the price and what price do others pay? We have to start once again contemplating justice more. BSENDORFER: Youre not only a songwriter, but also a composer, actor and author. What new things can we expect from you in the future? Konstantin Wecker: I hope to be able to be onstage for some time to come and to hug my audience with lots of energy.
Ufuk Arslan
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I n t e r n at i o n a l
Art M Concerts
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I n t e r n at i o n a l
alentina Lisitsa, the virtuoso Bsendorfer artist and global Internet phenomenon (a staggering 44 million hits makes her the most watched classical pianist in history), made her much-anticipated solo recital debut before an enraptured audience at Londons 5,000-seater Royal Albert Hall on Tuesday 19 June. She performed on a Bsendorfer 290 Imperial grand. Streamed live on YouTube, her two-and-a-half-hour concert of mainly romantic repertoire from Chopin, Liszt and Beethoven chosen by her loyal fans themselves in an online poll received an incredible 74,329 views during its initial live screening and subsequent extended availability as a YouTube Video On Demand, while some 6,000 comments have been posted on her YouTube channel to date. Of the Royal Albert Hall performance Albert Hewitt wrote in the UKs Daily Telegraph Lisitsa is a serious artist. Shed chosen a hugely taxing programme. Her playing often engendered a huge emotional charge, as in Liszts arrangement of Schuberts Erlknig. At the other end of the scale, the middle movement of Beethovens Moonlight Sonata was beautifully remote and poised, as if made from porcelain Brian Kemble, Managing Director of Bsendorfer was in the audience. It was a truly dazzling performance. The renowned technician Gerd Finkenstein set the Bsendorfer
Imperial up brilliantly, and to hear Valentina perform in such an iconic space home of the Promenade Concerts and to feel the enthusiasm of the audience was a very special occasion for me. For Valentina herself the occasion was as much a celebration as a concert, a gathering for friends old and new. In addition to all her thousands of YouTube viewers, many of her most devoted fans had travelled from around the world from as far afield as Barbados and New Zealand to attend the concert in person.
Photo: Stephen Frak
connects, both in name and in its programmes, music and theatre, tradition and experiment, great artists and up-andcoming artists. After the top-flight opening with a concert by the Vienna Boys Choir and the Vienna Philharmonic conducted by Franz Welser-Mst, MuTh is starting a colourful and varied first season. A new musical centre has emerged at a prominent place in Vienna.
Photo: Rupert Steiner
he new venue for music and theatre is an ensemble made from a Baroque basic structure and modern architecture. With a capacity of 400 persons, the new concert hall forms the heart of the building. The large, 12 x 9 metre stage is connected with an optimal orchestra pit. As an instrument, a Bsendorfer Model 280 grand piano has a fixed place in the new concert hall. The Vienna Boys Choirs marvellous voices are framed by the sound of this piano. However, the concert hall is not only a rehearsal and performance venue for the Vienna Boys Choir: MuTh considers itself to be a bridge and
I n t e r v i e w
Paul Badura-Skoda, Bsendorfer Ring recipient, is one of todays most important pianists, a legendary artist who has performed in the worlds most significant concert halls as a soloist, as well as with the most renowned orchestras and conductors. In addition to his continuing concert activities, more than 200 LPs and dozens of CD recordings among them the complete piano sonata cycles of Mozart, Beethoven and Schubert bear witness to his immense musical achievements. In an interview with Simon Oss, Paul Badura-Skoda speaks about his life as a pianist, Viennese music, as well as the piano from then and now.
BSENDORFER: This year you celebrated your 85th birthday with a concert in the Forbidden City Concert Hall in China, where in 1979 you were the first Western pianist to perform after the Cultural Revolution. How did your pianistic career get started? Paul Badura-Skoda: I had my first piano lessons at the age of six. However, my youthful ambition was actually to become an engineer or scientist. During the war, when I was fifteen or sixteen, I gradually recognized my calling as a pianist and then in 1945 I attended the Konservatorium in Vienna. Parallel to my studies with Viola Thern, who was a kind of central figure in my life, I also studied with a Viennese phenomenon, Otto Schulhof the classic Viennese pianist with a fabulously beautiful piano tone. That was a good complement. Viola Thern was unbelievably analytical in her teaching and had a fantastic knowledge of how to strike a key correctly. I have her to thank for the fact that I have never in my life suffered from the pianists affliction of tendonitis. By contrast, Schulhof was a concertizing artist who had travelled the world and was above all a specialist in the Viennese waltz, the Viennese rubato and the Viennese piano sound not to mention an enthusiastic Bsendorfer player! I have him to thank for a more free way of playing the piano, which later led me to Edwin Fischer a musician who gave me the impression that Beethoven and Mozart must have played in exactly the same way. Fischer played regularly at the Salzburg Festival. I played for him and he immediately said, Yes, Ill accept you for my master class. That was in 1948 and I was 21 years old. In the meantime, I had graduated from the Konservatorium with honours and was already a pianistic hopeful in Vienna. At twenty I won first prize in the first Austrian piano competition after the war. My second milestone arrived with the invention of the LP record: A legendary company, Westminster, from the United States, hired me as their main pianist. And my third milestone was when I jumped in for Edwin Fischer, who had fallen ill, at the Salzburg Festival. I didnt know that Fischer had appraised me so highly and I was already looking forward to the trio concert in Salzburg in August of 1950. One week prior to the concert, a telegram came from Salzburg, saying that Fischer had fallen ill and they asked me if I could jump in. I was surprised that anyone had thought of me of all people, as I was just a young pianist. The programme was sent together with the telegram: Beethoven |8 Trio in C minor, Op. 1, No. 3. No problem; its possible to learn that in a week. Yet the programme also included a piano trio by the Italian composer Ildebrando Pizzetti. Seemingly miraculously, I received the score to it from the Italian Cultural Institute. I studied this work like a crazy person and proudly came to Salzburg. There, I met Fischers long-time partner, Enrico Mainardi, a wonderful cellist with a sound to die for, a captivating personality not only at the instrument. When he heard what I had prepared he was appalled: But thats not our programme at all! We announced our programme change already a year ago. Were performing the Brahms Trio! What to do? I stood there crestfallen. Mainardi said, Youre talented. Learn the Brahms B major Trio, Op. 8. You can do that in three days. Ill teach you. I thereby had excellent instruction from Mainardi. I learned a great deal and the concert was a major success. That was the beginning of my career. At that time, audiences were starving for classical music. Thats unimaginable today. In every country there were tremendous numbers of musical organisations that invited pianists to play. At the age of 2425, I made a huge tour of Australia via the Australian Broadcasting Corporation, and afterwards tours of the USA and South America. These were great experiences. I have the destruction of the war to thank for the feeling for music. Music had a mission, a constructive power, one that gave people joy and the will to live, as well as a feeling for what is important in life, what goes beyond everyday life. With this feeling I also survived the crises that everybody of course has. BSENDORFER: How do you personally experience the changing image and the role of the pianist from the period before the Second World War to today? Paul Badura-Skoda: There was a very strong change. The relation of the pianist to the audience was marked by trust. As Furtwngler formulated, it was a love affair: Every concert is a kind of declaration of love for the composer, the music, as well as the listener. This wave comes back to us; its one of the most important of reciprocities. When we began our careers, the majority of the audience was not yet force-fed by the mass media. In order to hear a concert, you had to dress up, and back then you had to go to the concert on foot. And much more important was that there was serious musical instruction in every school, which was entirely directed to
classical music. We were taken to operas, what a Beethoven symphony is was described to us, and we sang constantly. Formerly, people played the great works (symphonies and operas) for piano four-hands; that was quite a major culture throughout the world because you couldnt even hear these works otherwise. The audience came full of curiosity. Nowadays, you have to lure the audience with every possible means. True, theres still a core audience in the major cities, but its very difficult above all for a young artist. BSENDORFER: Youve written numerous texts about the works and the appreciation of great Viennese composers such as Mozart, Beethoven and Schubert. What constitutes Viennese classical music? Does it have an essence? Paul Badura-Skoda: The word classical means the highest level of accomplishment, the highest perfection. Just as we speak of classics in literature, philosophy and the fine arts, the term classical was quickly chosen for the great composers who were active in Vienna. Brought down to a common denominator, its about the deepest content with the simplest of means. Within classical-era music, Mozart is a culmination. No composer could express so much and have so much depth with so few notes. Its something unique in the entire history of culture; it took centuries to reach this culmination. BSENDORFER: What does the oft-quoted Viennese sound mean to you? Paul Badura-Skoda: There is indeed something that distinguishes Viennese music making. It is the mixture of a certain mentality that was formed by our history and by the fact that Vienna was the centre of a multinational state during the monarchy. A certain balance of oppositions prevailed in Vienna. What was so special about Viennese music making was, as Mozart himself said, Even when I depict something ugly, the music still has to be beautiful. This principle can be found throughout all of the Viennese way of making music. And of course the Viennese waltz and Johann Strauss, the caf culture, the literature, the incredible richness of dialogue, humour and sparkling spirit are all part of being Viennese. BSENDORFER: You predominantly play the modern grand piano yet are also famous as a pioneer in the use of historical instruments. What significance does this have for you as a pianist? Paul Badura-Skoda: In this regard I had a revelation: private concerts by the unforgettable Isolde Ahlgrimm, who played a Bach cycle for my friend Jrg Demus and me on her harpsichord. That was already quite a deep experience. But then, two years later, she played Mozarts piano works on an authentic Mozart piano over the course of several evenings, and there you noticed that much that is problematic on the modern piano primarily the preferred lower register of the piano in most compositions sounds brighter and more transparent on the old instruments due to the thinner strings and thinner soundboard. In principle, its the same music, only with different timbres. In 1952 I noticed this for the first time
Guan Changxin
Maestro Paul Badura-Skoda celebrates his 85th birthday with a concert in the Forbidden City Concert Hall in Beijing. when I recorded a Mozart programme on the Anton Walter grand of the Vienna Museum of Art History and simultaneously on a beautiful Bsendorfer grand. For me, the art of playing Schubert or Mozart, for instance, lies in the fact that it has to sound authentic on every piano. Naturally, I learned from the knowledge of these instruments to create a clear, transparent tone on modern instruments as well, even in the lowest register. Conversely, in every composition there is something that goes beyond the instrument. This is very important! BSENDORFER: How do you feel about piano making today? Paul Badura-Skoda: The modern piano has stood still for the last 120 years. It reached a pinnacle that like the violin 300 years ago can hardly be surpassed acoustically. At the same time, piano making during Mozarts and Beethovens time, and Schuberts as well, was distinguished by incredible variety, the willingness to experiment, and different tonal characters. The modern piano is uniform in this sense. Bsendorfer is one of the very few manufacturers of modern pianos that has not followed this trend, but rather dared to this day to be different in sound as well. At the same time it is just as versatile as all other instruments. Whats typical about Bsendorfer is the Viennese sound a tone that is especially pleasing to the ear and something that cant be described in words.
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have identified seven specific artistic aims and techniques that are central to Beethovens creative process. The following list, while somewhat arbitrary, begins to provide a window into the mind of Beethoven. Originality (1) A desire to surprise, startle, and delight the listener. Beethoven was wary of convention, and found myriad ways of avoiding predictability by playing with expectations, sometimes humorously, sometimes to startlingly innovative effect, but never in a gratuitously shocking way. He accomplishes this goal by the originality of his themes, novel ways of developing them, and creating structural surprises that humorously or dramatically deny our Classical expectations. Orchestration (2) Instrumental colors and textures. In attempting an understanding of Beethovens piano writing, it is helpful to become familiar with his entire output, especially the string quartets and symphonies. The richly homogeneous texture of the string quartet is often found in slow movements, as in the Adagio molto of Op. 10/1. Tonality and texture sometimes suggest woodwind writing, as in the opening of the late sonata Op. 110, or the horn duet opening the Lebe wohl sonata Op. 81a. Many orchestral textures can be found in the piano sonatas, evoking strings, winds, or timpani writing (as in the repeated low Cs in the recapitulation of the Appassionata). For performer and listener alike, these instrumental dimensions provide opportunities for an enhanced perception of the composers imagination and of the pianos coloristic capabilities. Drama (3) Operatic aspects. Beethoven was obsessed by the desire to write operas, in which, as a moral idealist, he yearned to embody his beliefs in theatrical form. One operatic element that he uses in his piano sonatas is the recitative, a form of sung speech found, most tellingly, in the Tempest Sonata, Op. 31, no. 2. According to Beethovens pupil Carl Czerny, the use of the pedal is supposed to create an echo effect as if coming from a cave, a haunting and powerful image of loneliness and abandonment. Another dramatic effect with psychological overtones is what I call the stern/pleading duet, a juxtaposition of implacable force with vulnerable humanity, of which the most
wrenching example is the Adagio of the Fourth Piano Concerto, in which the powerful orchestral string unison vies with the quiet, pleading voice of the soloist. One example in the piano sonatas is the ff bass and p treble exchange in the Adagio of Op. 2/3 (mm. 2636). One operatic image that recurs in the piano sonatas is the stark opening of the second act of Fidelio: a dark stage where the prisoner languishes in despair. In piano music, darkness can be represented by the low register, as in the pp start in the Introduzione of the Waldstein sonata, Op. 53. To me, this movement represents desolation, arriving at the final Allegretto as a symbol of rescue and hope. Nature (4) Nature as mystical inspiration. To Beethoven, nature represented a reflection of the divine. In one of his notebooks, he wrote: I am happy, blissful in the forest: every tree speaks through you, O God! What splendor! In the piano sonatas, one can find its manifestation in many forms: benevolence (Pastorale sonata, Op. 28), bliss (Adagio, Tempest sonata), threat (opening of Appassionata), and storm (finale, Moonlight sonata, Op. 27/2). As in the Pastoral symphony, there is a love of village life, a Romantic symbol of folk simplicity and wisdom. Illness and healing (5) One of Beethovens most intimate friends, Antonie Brentano, wrote to her sister-in-law Bettina: He visits me often, almost daily, and then he plays spontaneously because he has an urgent need to alleviate suffering, and he feels he is able to do so with his heavenly sounds. There is no doubt that the composer, who himself suffered from many physical ailments, found musical ways to describe the ravages of disease followed by the renewal of strength and the blessings of healing. The most powerful expression of this idea is in the Molto adagio of his String Quartet in A minor, Op. 132, which bears the inscription Holy Song of Thanks by a Convalescent, to the Divinity, in the Lydian Mode. A similar stream-of-consciousness scene of weakness and regained strength is depicted in the finale of the Sonata in A-flat major, Op. 110, which alternates an arioso dolente (song of suffering), with a vast, restorative fugue followed by a return of the arioso, this time marked perdendo le forze, dolente (losing strength, lamenting), after which the inversion of the fugue is stated with detailed instructions: sempre una corda (muted), poi a poi di nuovo vivente (gradually reviving). The gradual return of strength is indicated later by removing the mute (poi a poi tutte le corde), and by a speeding up of the pace (poi a poi pi moto), finally bringing the piece to a close with a joyfully exhilarating restatement of the original fugue subject, harmonized by excited accompanying figures. In its vast stream-of-consciousness scenario, this is truly Beethovens pianistic opera.
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Improvisation (6) Improvisation as compositional device. Beethoven was a masterful improviser, as noted by numerous contemporary witnesses. As he matured, he increasingly used improvisatory passages in his sonatas, making them part of the overall structure. This technique is best seen in the transition to the finale of Op. 101, where the theme of the first movement gradually becomes the inspiration for the fourth movement by transforming three notes: EC#B. It is inspiring to be allowed, through this device, a glimpse into the creative thinking of the Master. As an example of this stream-of-consciousness compositional process, listen also to the introduction to the final fugue in the Hammerklavier Sonata, as Beethoven samples various Baroque forms (prelude, fantasia, toccata) through a cycle of descending thirds, until he finally arrives at his bold fugal subject. Transcendence (7) The search for transcendence. By his maturity, Beethoven had traversed an immense journey in his development as a composer, moving beyond the Classical traditions inherited from his immortal predecessors, Haydn and Mozart. One of the forms that allowed him to explore new territory was the Classical composers bread and butter, the theme with variations. In the final movements of two of his last sonatas, Op. 109 in E major and Op. 111 in C minor, he explores all aspects of musical expression, creating cumulative narratives of unprecedented power. In he finale of Op. 111 he begins his quest for transcendence with a simple Arietta in C major, marked Adagio molto semplice e cantabile. After many transformations, a sublime texture emerges: the theme in high register, surrounded by trills above and murmuring triplets below, creating a magical sense of heavenly glow. This is the Master marking his farewell to the piano sonata with a statement of resignation and ultimate peace. Peter Takcs, Pianist
John Seyfried
Peter Takcs
Hailed as a marvelous pianist by the New York Times, Peter Takcs has established himself as a distinguished performer, teacher, and lecturer. Winner of the William Kapell International Competition, he has appeared in recital, chamber music, and with orchestra in the United States, Europe, and Asia. He has given master classes throughout the world, and has been an adjudicator in many prestigious international competitions. His recording of the complete Beethoven Piano Sonatas was released on the Cambria label in July 2011.
Rosen-Jones Photography
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Testimonials
232 Bsendorfer pianos at the University of Music and Performing Arts Vienna At present the Universitt fr Musik und darstellende Kunst Wien has 232 Bsendorfer pianos. As far as I am aware, all these are grand pianos. It is well known that Bsendorfer pianos have an exceptionally clear and transparent sound, which makes them the chosen instrument of many artists specialising in the classic repertoire of Haydn, Mozart, Beethoven and Schubert. The Imperial Concert Grand has arguably the best bass of any piano available and is undoubtedly among the finest instruments manufactured today. Our technicians insist on the purchase of Bsendorfer pianos because of their longevity a matter of no little importance when planning for conversatories. Prof. Martin Hughes Director of Institute of Solo Keyboard Studies at the University of Music and Performing Arts Vienna Three new Bsendorfer grand pianos for the Vienna State Opera The Vienna State Opera has very high demands on a piano manufacturer: instruments of the highest quality and the most careful maintenance of them. Over the years, we have turned to Bsendorfer time and again and have been satisfied every time. The result: new instruments on reasonable terms and exceptionally accommodating care, from the sales contract to delivery, all the way to regular maintenance. We thank Bsendorfer warmly and are happy to continue our collaboration! Dominique Meyer Director, Vienna State Opera
The new Bsendorfer Imperial grand piano for the Hochschule fr Musik und Theater Mnchen (Munich Academy of Music and Theatre) I think that an academy of music such as the Hochschule fr Musik und Theater Mnchen, where the training of pianists has traditionally played a very important role, ought to make a broad range of instruments available to its students. Students need to have the possibility of trying out various makes and their top products in concert. If we were to concentrate on only a single brand it would impoverish the music and piano world. On that note, I think that Bsendorfer is making a very significant contribution to creating sounds other than the mainstream sound.
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miscellaneous
he worlds first black wristwatch, the legendary exclusive glasses and the Porsche 911 for decades, all of these products have stood for the unique design language of Ferdinand Alexander Porsche. In 1972, he founded the Porsche Design Studio in Stuttgart, whose headquarters he moved to Zell am See in Austria two years later. The Porsche Museum is acknowledging the companys 40th anniversary with a special exhibition, where visitors can experience Porsche Designs most important, interesting and exceptional products, as well as the companys history.
highlight of the special exhibition is the concert grand piano that Porsche Design Studio designed for the Bsendorfer piano company in 2003. This piano symbolically represents all of the studios design works, which are distinguished by their clear, functional formal language, careful selection of materials, as well as high-quality workmanship. The piano combines exceptional design with the famous Bsendorfer sound, which impressed the numerous guests at the grand opening celebration, among them the entire Porsche family.
Senior Vice President Andy Rubin and his love of modern technology, design and tradition.
From left to right: Andy Rubin (Senior Vice President, Google) with Paul Starkey and Jim Fishback (Music Exchange) at Googles headquarters. 13 |
F A C T O R Y
The Bsendorfer model Imperial is a unique instrument in many ways. Apart from its imposing size, most apparent is of course the expanded compass of the keyboard. No other piano offers a compass of fully eight octaves normally only 7 1/4 octaves are available on a piano. To avoid any difficulties in orientating oneself, the additional white keys are given a black key cover. In place of the black key cover, older Imperial grands have a foldable cover that was designed as an expansion of the key block.
he Imperial is the 19th model that was designed and developed at Bsendorfer. With its length of 290 cm (96), the grand piano may not be the longest piano ever built, but with its width of 168 cm (56) it has a significantly larger soundboard surface area and span width compared to any other concert grand piano ever made.
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he genesis of the Imperial grand can be split into two significant stages. The first step was taken with the forerunner model number 14, which did not have a compass of eight octaves, but whose external design and length of 290 cm largely corresponds to the dimensions of todays Imperial. The second step was initiated by the composer and pianist Ferruccio Busoni, who approached Bsendorfer to build a grand piano whose compass should extend to subcontra C in the bass. At this time, Busoni was composing transcriptions of Bachs organ works, and in so doing he desired to have the sound of the 32-foot pipes of the organ available directly on the piano as well. Since people at Bsendorfer have always liked to experiment and have been very open to new developments, this experiment was in fact investigated and implemented. The result was ultimately so convincing that the piano went into series production starting around 1910 and was personally introduced to the then-emperor Franz Joseph by Ludwig Bsendorfer. To this day, the Imperial remains a fixed and essential part of Bsendorfers range of products, and since its introduction more than one hundred years ago has been built without interruption and without any changes in significant areas. rom a technical, constructional standpoint, there are several specific details that are significant. For example, the lowest string, the subcontra C, vibrates with a frequency of only sixteen Hertz, i.e. sixteen vibrations per second. It is actually possible to follow and observe this movement an extremely slow one for a musical instruments vibrating string with the naked eye. Altogether, the Imperial has nine additional bass strings, whose collective tensile force amounts to approximately 13,500 newtons, or, expressed differently, loads the piano with more than one tonne of additional force.
capability possible. For this purpose, the ribs are made such that they exhibit a special curvature on the side facing the soundboard, in order to guarantee the optimal balance between static load bearing capacity and high vibrational freedom. True, the principle of curved ribs is also used in all other Bsendorfer models, yet specific demands and custom dimensions and constructions as a result apply to the Imperial in terms of the dimensioning of the rib cross sections and radius of curvature. lso imposing is the rim construction of the Imperial model, with its numerous longitudinal beams and crossbeams, which together with the outer rim and cast iron frame form an extremely stable structure to withstand the enormous string tensile force. The design of the cast iron frame is likewise special and very easily recognisable via the extensions on its outside. This specific design is necessary to reduce the weight of the frame, given its dimensions, as much as possible. n addition to the specific constructional and technical features of the Imperial model, above all there are also acoustic properties that are exclusively reserved for this model. The specific sonic properties can in turn be traced back to the additional strings on the one hand, as well as to the dimensioning and implementation of the soundboard, the bridges and ribs, and indeed to the entire resonating case. The outstanding wealth of tone colours that fundamentally distinguishes Bsendorfer grand pianos is even more strongly pronounced in the Imperial model and lends the instrument its unique sound, its special, imperial timbre.
he soundboard of the Imperial grand likewise presents a special technical challenge, as the dimensions deviate significantly from those of a normal grand piano, particularly in terms of width. Due to the soundboards large span width, a special ribbing must be applied in order to both guarantee the proportionate load bearing capacity of the soundboard and simultaneously to make optimal vibrational
ach string that is set into vibration via the striking of a hammerhead in turn stimulates all other strings of the piano more or less to vibrate in sympathy, and these sympathetic vibrations complement the sound of every individual note. Often, this complement takes place largely in the partials spectrum area this holds of course for the additional bass strings as well. This can very easily be proven by a little experiment: Play for instance a C major triad in the melody register in the treble while holding the lowest keys C2, E2 and G2 so that the dampers of these notes are raised and the strings are free to vibrate. These lowest notes are not actually played, but are entirely set into vibration via the vibrations of the treble strings. If you now release the treble keys that were played while continuing to hold the lower keys, the treble strings are dampened and the only sound that is audible is that which arose from the sympathetic vibration of the
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deep bass strings. The result is actually astonishing above all the intensity of the upper partials spectrum that is clearly audible in the form of higher frequencies.
his specific property of sonic expansion is remarkable in that it is not dependent upon directly striking the additional strings; rather, the sonic spectrum of every individual note benefits in each case. This means that especially music that does not take advantage of the keyboards entire spectrum such as Mozarts music for instance profits as much or more from the additional tone colours. A special feature of the Imperials sound, which is discovered and described again
and again by pianists and other musicians, is that individual notes sound very expressive and colourful. This phenomenon can in large part also be traced to the additional partials of the extra strings. ltogether, the Imperial model probably most clearly represents the typical Viennese, inspiring Bsendorfer sound for which our instruments have been internationally renowned for generations. Modell 290 Imperial key points: Length: 290 cm / 96 Width: 168 cm / 56 Compass: 8 Octaves Number of keys: 97 Weight: 552 kg / 1.217 lbs Number of strings: 249
F A C T O R Y
Bsendorfer has decided after quite a few years of abstinence to reintroduce a 120 cm / 311 upright piano into its product range. The goal of this project was not simply to resume manufacturing the original Model 120, but rather to present an entirely newly revised and refined instrument.
The new Bsendorfer Model 120 Action: or good playability of the piano, the length of the keys is decisive. For the new Bsendorfer Model 120, the same key length as the larger Model 130 was used. In connection with the dynamically active acoustic construction, this has an exceptionally positive effect on the playability and controllability of the action, and the sound, and is ground-breaking in a piano of this size.
Back construction: he Bsendorfer 120 is a classic upright piano with a resonating spruce wood back construction with five back posts. The key bed is also manufactured from the same material. In the Model 120, the construction and manufacturing principle at the heart of the instrument, the acoustic construction, has been entirely redesigned. Since the soundboard of an upright piano has an irregularly curved, convex surface shape, fitting it correctly to the back is of great importance. The more successful this alignment, the better is the dynamic efficiency and the vibrational capability of the instruments acoustic construction. With the possibilities of CAD-supported construction software, such three-dimensional surfaces can be precisely designed, and transferred to CNC-controlled processing machines to be made. Through this, the curved underside of the ribs and the long bridge, and the surface of the back liners can all be precisely shaped according to the construction design. This method is an entirely new approach and offers the highest degree of precision and the possibility of perfect alignment of all the individual components.
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Case: he case a classic console shape can also be equipped with a Sound Release System as an option. In this version, direct sound is able to flow outwards, even when the case is closed, through concealed slits in the top door, which is significantly richer in overtones than the rather damped sound of a completely closed upright piano. Sound: he Model 120 exhibits a dynamically open sonic character and simultaneously represents a further typical and unmistakable Bsendorfer sound that is distinguished by its richness of colours and its warmth. The Model 120 in numbers: Height: 120 cm / 311 Width: 151,8 cm / 44 Compass: 7 1/4 octaves Weight: 262 kg / 578 lbs Number of pedals: 3
Cast iron frame: he cast iron frame for the Model 120 (like all other Bsendorfer models) is cast by the Wagner company in Upper Austria. In the construction and manufacturing of the pattern for the foundry, we likewise blazed new paths by implementing state-of-the-art construction and manufacturing methods from the three-dimensional design drawing to the CNCcontrolled milling of its individual parts.
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I k e b a n a
The World of Flower Artist Shogo Kariyazaki at the Chorakukan, Kyoto 2012
Photo: Mitsuyoshi Kimura
Flower arrangements by Shogo Kariyazaki and the Bsendorfer Model Klimt a feast for eyes and ears
sendorfer Japan Group displayed our Klimt model at the exhibition of the renowned Japanese flower artist, Shogo Kariyazaki, held at the Chorakukan in Kyoto from 14th to 19th March 2012. Since Shogo Kariyazakis floral arrangements have a reputation for their own style bold yet subtle and their unique use of colour, approximately 10,000 people visited throughout the exhibition. They greatly enjoyed both his gorgeous flowers and a special Bsendorfer piano with the world famous Kiss by Gustav Klimt. horakukan is a Renaissance style building established in 1909 to welcome distinguished guests. This beautiful European guest house was named by Hirobumi Ito, the first Prime Mister of Japan. When he went to Europe by order of the Emperor Meiji, he was strongly impressed by the sound of Bsendorfer performed by Franz Liszt in Vienna, and then tried to invite him to Japan. Chorakukan has its own Bsendorfer piano and now holds concerts with some exclusive pianists. During this exhibition, 4 pianists played with the Klimt model day by day. They stated their impressions about the Klimt model with admiration; This is the best instrument ever that enables you to express colourfully and sensitively with very soft sound. What a delicate piano it is that makes it possible to play both soft and clear pianissimo!, Im overwhelmed with the beautiful sound. I feel like being covered by harmonic tones while the bass strings are resonant with Bsendorfer unique deep sound. This piano makes control of
he flower Artist Shogo Kariyazaki has a profound knowledge of Classical Music and also plays piano. He praised the Klimt model with its rich and warm sound as the best piano in the world. The combination of the floral arrangements by Shogo Kariyazaki, famous for the hands spinning the beauty, and the Klimt model with impressive appearance and sound, attracted the visitors eyes and ears. In this way Bsendorfer timelessly fascinates many people even today.
miscellaneous
In 1877 Johannes Brahms made his way to Wrthersee for the first time. Soon thereafter, he discovered that Here, the melodies just flow out of me, and spent three summers composing there.
Photo: Archives Mari Sato
he winners of the piano competition: 1. Mari Sato, b. 1987, Japan; 2. Kanako Kuroda, b. 1982, Japan; 3. David Hausknecht, b. 1992, Czech Republic. The competition was crowned by the violin and piano finale, accompanied by the Euro Symphony SFK Youth Orchestra conducted by Ernest Hoetzl, at the Congress Centre Prtschach. Finally, the winners concert took place at the well-filled Casino in Velden.
Mari Sato won the 19th International Johannes Brahms Competition in the piano category. The best participants from the piano, lied, chamber music, viola and cello competitions guaranteed some inspiring moments. At the same time, the audience prize was announced, which was awarded to the French cellist Benjamin Truchi.
Feeling at ease at Bsendorfer Downtown in the Vienna Musikverein: Maestro Zubin Mehta
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miscellaneous
he perfectly matched connection between enjoying culture and the freshness of summer is a good Austrian tradition. One of the most beautiful places is the Salzkammergut, on the Traunsee in Upper Austria, which provided an incomparable setting for the 2012 Salzkammergut Festwochen Gmunden. This anniversary festival, which has already been in existence for 25 years, presented outstanding pianists on Bsendorfer pianos in addition to outstanding young talents, celebrated composers and interpreters, and major names of Austrian literature. As well as performances by pianists including Dennis Russell Davies, Maki Namekawa and Andreas Eggertsberger, there was a grandiose concert with the young star pianist Khatia Buniatishvili. This new star in the pianistic sky captivated the audience with a scintillating virtuosity that was never extroverted, one that seemed to know no technical boundaries. This virtuosity was combined with an outstanding awareness of sound and a musical hypersensitivity that also expressed the melancholy, shadowy sides of Liszts late style in an overwhelming manner. She played the following works: Franz Liszts Sonata in B minor and Mephisto Waltz, Franz Schubert / Franz Liszt lieder and Igor Stravinskys Three Movements from Petrushka.
Continuation of the Attersee Klassik concert series at one of Europes most fascinating landscapes
the Bsendorfer Model 280 concert grand. Together with the Attersee Institute Orchestra conducted by Maestro Bertrand de Billy, Kit Armstrong played works by Franz Schubert, Wolfgang Amadeus Mozart and Johannes Brahms.
Photo: Michael Maritsch
Modell 214
The action:
Renner, Made in Germany to Bsendorfer specifications
The bridge:
Handcrafted by Bsendorfer in Austria
Model 214
The keyboard:
Made in Germany to Bsendorfer specifications
The tonewood:
Airdried, top Alpine quality
www.Boesendorfer.com