Guest Post by a Friend In The Business

WHAT ARE WE TEACHING OUR FUTURE PIANISTS?

Recent events at the college level of piano education and performance has brought to my attention an area of great importance, especially in how it affects our future piano teachers and performers.

Let me begin with a little background before I state my case.  I graduated with a music education degree in 1973.  Yes, that is a long time ago, long before digital pianos were a gleam in Mr. Kurzweil’s eye.  I had  two major instruments as part of my degree, trumpet and piano.  Since then I have taught music, become a piano technician and worked for two piano companies that would be considered “world class.”  Continue reading

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A Whole ‘Nother World

Last fall I learned about a world I knew existed, but one that, well, frightened me. It had its own language, its own sound and worse…its own tools! Yes, I’m speaking about the world of harpsichords and fortepianos!

I spent 2 weeks at the J.C. Neupert Company in Bamberg Germany alternately freezing and being humbled by how little my piano technical skill seemed to carry over into this new world. Neupert, founded in 1868 as a piano maker, is the last remaining historical keyboard instrument company. That doesn’t mean there aren’t individuals in different parts of the world making these instruments. It’s just that Neupert is the last company that offers a full range of instruments from modern harpsichords to a complete range of historical reproductions of the various design “flavors”.

It’s a new world to me, but one that feels right. Dedicated, skilled people who feel the world needs these instruments. I’m going to do what I can to help connect them with the right people.

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Welcome to Retail – Allegro Pianos Manhattan

For the past 6 months I’ve been helping build a new high end piano retail store in New York City. Allegro Pianos Manhattan is an expansion of Allegro Pianos of Stamford CT. We represent Bosendorfer, Bluthner, Steingraeber, Estonia and Kawai. I split my time between maintaining all the pianos and working with customers.

It’s been a challenging period, to say the least. It has been a brutal winter in NYC and it has taken time to get the pianos stabilized and sounding their best. We’ve got a pretty incredible selection, including concert grands from Bosendorfer, Bluthner and Steingraeber, a Bosendorfer 225, a beautiful Bluthner model 2 and over 25 other pianos, both grands and verticals. I have really enjoyed becoming more familiar with these makes and in particular getting familiar with how to get the best tone. I’m reminded once again how much difference careful regulation can make in tone, without even touching the hammer. I’m also reminded once again how differently they different makes respond to voicing and why, to get the most idiomatic tone from each make, you have to be flexible in your voicing technique. But, the basics apply across the board, including string seating and careful fitting of the hammers to the strings.

If you’re in NYC, please stop by (205 W. 58th St)

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Maybe the Times are a-changing…

Frederic Chiu played the new Yamaha CFX concert grand in a well received recital at the Metropolitian Museum of Art in New York. The extremely positive review in the New York Times also featured something that has been very rare in the past, a photo that included the name of a non-New York based piano maker.

Very good trend indeed.

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My Christmas present to myself

Tatiana Nikolayeva plays ShostokovichIt’s a great DVD of a large Russian babushka playing the piano and yes, I am that nerdy.

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Love Music = Love Alex Ross

If you love music and you haven’t discovered Alex Ross, you’re in for a treat. Ross is the music critic at The New Yorker and the author of 2 wonderful books on music.
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I’ve (re)Joined a Cult!


I’ve been a member of this cult at various points of my life and each time membership brought pleasure, intellectual stimulation and feelings of self-worth and well being. I’ve also drifted away at various points, using excuses that now seem thin and frail, such as “I don’t have time” and “It’s not really worth the effort” and “I’ll never be any good”. This time my separation has lasted a number of years. Yet, now that I’ve returned I’m realizing that a hole in my life that I wasn’t even aware of has been filled again.

I’ve returned to the cult of active piano playing.

If you’ve never been a member, you’re probably scoffing at my romantic, smarmy language. But that’s ok. As members of any cult know, standing up to public opposition and ridicule is part of the experience and it makes the rewards that much sweeter.

I did it in 2 simple steps. First, I decided that I wanted to rejoin and then I started taking lessons again from a wonderful doctoral candidate at NYU.

Bach, Schumann, Scriabin and Stephen Sondheim have come back into my life as my personal friends. When I’m not sitting at the piano I’m thinking about sitting at the piano. And even at my lowest, when I think about where I’d be if I hadn’t drifted away the last time, I take great satisfaction in knowing that already I’m beyond where I left.

Being in this cult does not depend on a single messiah. There is no single personality dominating me nor have I pledged my worldly possessions. All it takes is willpower (and a piano). I’ve committed time and attention and in return some of the greatest minds in civilization have come into my house and my mind, hopefully to stay.

I hope I remain a member for the rest of my life.

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High End Piano Guy at NAMM

I’m giving a presentation at NAMM this year in LOUNGE 88, in the piano area. Here’s the link NAMM is, as you probably know, the big musical instrument/products industry trade show, held in Anaheim California, every January.

While I’m in good company (Bob Popyk and the Perez’s) my presentation is Sunday morning, so PLEASE come so I won’t be talking to myself. I’ve got to thank my friend Dennis Houlihan, President of Roland US, for connecting me with NAMM in such a great way.

My topic is Artist Relations for Fun and Profit. I’ll be talking about strategies and tactics for expanding your stores involvement with professional musicians for building traffic and sales. I really believe that a smart piano dealer will understand the importance of building a reputation for being knowledgable and supportive of the local performing arts community. I also know from experience that many dealers really don’t know how to effectively work with serious performers, whether they are national artists or local musicians. There are some simple but important factors to keep in mind, the most important being that you must create a good environment if you want the best musical experience.

If you’re at NAMM, please join me!

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Garrick Ohlsson talks about pianos

I spent some time with Garrick Ohlsson recently during his visit to Tanglewood and recorded our discussion of various piano topics. The stepping off point was his own collection of pianos.

Interviews by ejohnson

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Piano Business (slightly) Up

The word from various places around the country is that the piano business, at least the high end, is up slightly. This is more than a slightly big deal for a variety of reasons. The biggest reason is that this part of the business has been pretty clobbered for a while and is seen (at least by me) as a leading economic indicator. I’m using the term “leading” in this case as the opposite of lagging. Another reason is that this is summer, traditionally a very slow time in the piano retail business.

This uptick is not consistent but has popped up enough to be more than a regional burp. But one take-away is that perhaps there is some pent up demand for pianos, something many of us in the business have been hoping for.

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