What is good for the goose is…

My recent travels have taken me to a well known retailer in the East and a well known university in, well, the US.  Both are staffed by  serious piano people and to me, both represent a problem this industry is facing. They both are basically sending the message that new piano manufacturers have little value.

In the case of the retailer, they are emphasizing their very idiosyncratic approach to rebuilding, essentially sending the message that the best piano is an old Steinway. To be clear, they are not a Bosendorfer dealer and another high end European maker ended their relationship with them recently.

In the case of the University, they are an active rebuilding shop focusing on rebuilding a motley but carefully selected collection of rather worn out pianos. The rebuilds are high quality, done by very serious people.

Both of these organizations have specific, carefully thought out reasons to approach their business the way they do but the end result is the same…we don’t really need piano makers. The world of old, used up pianos seems infinite and with our skills, we can “re-manufacture” all we need.

I could go on and on and maybe I will over a couple of posts, but if anybody is serious about building the market for pianos and music, then there has to be some kind of symbiotic relationship between the customer and the maker. That doesn’t mean that all the makers crowding the market these days deserve the same consideration but there needs to be recognition that the manufacturers play a very important role in process.

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Summer Travel

I’m a pretty good long distance driver and took some long drives in June and July. First I drove to Toronto and back for a weekend Canadian Piano Technicians meeting. About a week later I drove to visit Andre Bolduc in Montreal. That drive is particularly beautiful, going through wonderful forests in Upstate New York and passing by Lake George. My evening in Lake George was about as perfect summer evening as one could ask for; great location, great weather, great beer. When the pieces come together and one is in a position to notice and enjoy it, life can be wonderful.

Lake George

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PTG 2009

PTG of course is the Piano Technicians Guild and this years convention was held in Grand Rapids Michigan. Grand Rapids is a pain to get to but is a lovely little city with a fantastic convention facility.

For the past number of years Ferdinand Braeu, our Technical Director has given a class on Maintaining the Bosendorfer Tone. The class combined theory and hands on voicing and has been well received. Ferdinand couldn’t make it this year due to his being needed at the introduction of the new Audi designed Bosendorfer at Audi headquarters in Germany. The replacement instructor got hung up in Paris with passport problems. It seems that the US introduced a new regulation on July 1 requriing that visitors from europe use a passport with an embedded computer readable chip. It didn’t matter that he was using an otherwise perfectly valid Swiss passport – he couldn’t get on the plane.

So Gerald Stremnitzer, a somewhat frequent visitor to the US, cut his holiday short and came over in time for the 2nd of our 2 scheduled classes.

The first class had to be rescheduled to the first time slot of the first day, so attendance was quite low. Despite this inconvenience I led a spirited discussion of voicing and high end piano jive among the 4 students

Stremnitzer’s class was held as scheduled so the attendance was quite a bit better. He did a great job and we had about 30 serious attendees who asked good questions. There was one very interesting point made. An attendee made a valid observation that factory technicians like Herr Stremnitzer have very deep knowledge about one manufacturer but their experience is not as broad over different makers. The attendee continued the observation to say that a skilled RPT could perhaps do a better job on a piano of a different make than could a dedicated factory tech, meaning that the breadth of experience a skilled independent American tech might have would, in that case, be better than the deep experience of the factory tech. To this Gerald replied: “I don’t think so”.

This was very funny and very true. It’s more of a comment on skill levels between Europe and the US. Those who work for one of the top 8 or 10 makers have reached a professional peak by going through a rather strict training sequence, one far more demanding than anything organized and available in the US. There are some wonderfully skilled technicians in the US and the depth of knowledge of the average PTG member grows constantely. But the hands on practice on high end pianos, under the watchful eye of a skilled master, over a period of years, is hard to come by here.

Training trumps experience? Of course, not quite so simple.

Gerald Stremnitzer of Bosendorfer, Grand Rapids 2009

Gerald Stremnitzer of Bosendorfer, Grand Rapids 2009

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What I Like About Piano Competitions

The Van Cliburn Competition just ended with barely a ripple on the surface of public awareness. To a certain extent this is to be expected since the world of serious piano playing is relatively small and arcane. However in my memory the Cliburn used to generate quite a bit more awareness.

The biggest advantage of competitions is that they provide performance opportunities to serious students. No, I’m not referring to all the career opportunities that are supposed to come to the winners. In that area competitions seem like American Idol to me; the best careers often come to those who did NOT win. The performance opportunity is the competition itself, whether or not the individual makes it past the preliminaries.

For a serious piano student, playing for themselves only goes so far. The purpose of being an artist is to communicate and to do that one must have an audience. Playing for friends and family fills that bill, but to grow one must expand and learn the skill of communicating in difficult circumstances. These circumstances mean dealing with nerves, pianos good and bad, and the pressure of expectations. Entering a competition definitely ups the stakes and if one gets into the good ones, opportunities to play with good orchestras and chamber groups expand the experience. These kinds of opportunities, especially concerto performances, do not come along very often.

At a competition you also get to hear what your peers are doing as well as participate or at least observe master classes with artists you might not have exposure to otherwise. It’s a little bit like traveling to a foreign country after intensely studying a language. It’s one thing to sit at home with your tapes and books, quite another to get on the right bus or have a telephone installed.

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Tuning part 2

strip

A single piano key sets into motion a set of 3 strings, all set in motion by the same hammer and all tuned, ideally, to the exact same pitch. This collection of 3 strings is called a unison. One usually sets a temperment by muting off 2 of the 3 strings in each unison over the temperment octave. This allows you to really focus on specific individual partials between the note you are tuning and the note you are tuning from. This is usually done by threading a thick felt strip between each of the unisons, muting the outside string of each. You then tune the center string as the reference. Setting a temperment is a really process of adjusting 12 variables, each of the strings in the octave. making those fine adjustments is considered much easier to do with one string at a time, and then, when you are satisfied, you tune each of the other strings (left and right) to the center one.

Now, there are different techniques. One way is to mute off the entire piano, listening to a total of 2 strings at a time. But as with a lot of things, less is often considered more. The macho tuner claims to use 1, or maybe 2 individual mutes. The implication and reality is that that tuner is so sure of where that single string is set, that he can tune the other 2 to it and be confident that he won’t need to come back and adjust it slightly later. It sounds like hubris but when you see it done by the right person, you come away thinking that there was no other position for any of the strings, that that person set them exactly where they were meant to be.

This assumes a very high skill level and a piano that is extremely well tuned to begin with. But it also compliments the notion that very high level tuning takes into account all 3 strings of any unison as an integral part of the overall sound of that piano. By muting off you’re taking out of consideration a key part of resulting piano sound so how could your tuning possibly be optimized?

All it takes is practice.

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Fixing my piano – now the work begins

My Yamaha CFIIIS came back from PianoWorks in Atlanta and was installed in Charleston. It was very nicely strung with new pinblock and treble bridge cap. Flawless delivery to Charleston sounding very good on arrival. Good is relative, of course. The parts PianoWorks did were very very good. The sound of the hammers and their presence in a midsize room was harsh. They will only begin to sound acceptable with a couple of hours of serious voicing, and that can’t happen until the piano is tuned and very stable. To me, that’s at least 10 tunings. I just have to get started.

New brigde cap

New brigde cap

I haven’t tuned a piano in a year and before that probably 2, so I’m rusty. The skills of tuning stay with you, like riding a bike. The facility and confidence, however, have to be painstakingly, patiently rebuilt.
Continue reading

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Gabriela Montero in Vienna

The word from Vienna is that my pal Gabriela Montero (yes, she played at the inauguration) just had a big success in Vienna, playing Brahms 1 on a Bosendorfer 290 with the Vienna Philharmonic.

Gabriella Montero

Gabby is the real deal and if you don’t know of her, you should.  Sublime musical intelligence, warm personality, beautiful, huge sound with the added twist of being a skilled and natural improvisationist (is that a word?). This is improvisation in the classical sense, the ability to take a theme and spontaneously turn it into a polished performance. These were considered common skills for performers 100 (maybe 150) years ago but they have since disappeared from the scene. Properly done it is more than a parlor trick. There should be  all the structure of the sonata allegro form, including a development of the theme, often with variations as well as a recapitulation and coda. The idea is that the knowledge of musical structure and construction is so integrated in the performer that she can apply it at will.

Gaby speaks of her “gift” and takes little credit for being anything other than a channel, but we all know that there is more than that. It is hard for an audience to connect with improvisation in the true classical sense since the subtleties are beyond easy reach. She frequently works with themes called out from the audience that are more often than not pop or jazz related. While she does a good job here, I always long to hear her stay in the more serious area.  What she does then is truly amazing.

One aspect of this industry is that there is no shortage of wonderful, skilled pianists.  So when somebody who really deserves it gets there (wherever there is) it is really a reason to celebrate. Gaby developed a close friendship with Marta Argerich which helped make some introductions and open some doors. But once the door is opened you’re on your own.

She has a natural affinity for the big romantic works, but drifts into my territory as well.  Go to here and click on Chapter 4 for some fun.

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Haitink comments on Shostakovich 4th Sympnony

The Shostakovich 4th is one of my most favorite pieces perhaps due to the way I first heard it; performed by the Boston Symphony, me  a naive college student walking in completely unprepared. I walked out a different person.

This video is short. Make sure you listen to the end.

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Newport Music Festival – Greatest Music Festival in the world

I’m a huge fan of the festival, having first gone in 1980. It’s the classical music festival, held inside the mansions in Newport RI. It is a treasure of the music world due to it’s wonderful, unique programming and the supremely high level of the playing and players. Of course, it’s mostly due to Dr. Dr. Dr. Mark Malkovich, who has run it for something like 30 years.

www.newportmusic.org

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Newport Venue

Newport Venue

This year it takes place from July 10-26 and if you can possibly go, you should.

Here is a list of the pianists performing this year:

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Musical Nourishment – Chicago

My idea of cultural mecca is the Palmer House Hotel in Chicago. It’s has a spectacular old world lobby and is just steps away from the Art Institute and Symphony Hall.
I took advantage of it’s proximity to the latter tonight and attended a performance (under Bernard Haitink) of Webern Im Sommerwind, Mahler Ruckert Lieder (with Christianne Stotijn) and Brahms Symphony Number 1.

To an orchestral music lover, this is a multi-course meal at a fabulous restaurant. One comes away content  on a number of levels, marveling at the display of mastery that one has just witnessed. And, ultimately, the only thing one takes away is a memory.

The Webern was the biggest surprise. A huge romantic tone poem from the master of modernist  miniatures. I will use this piece, in addition to Schoenberg’s Gurralieder and Transfigured Night as proof that one needs to have complete mastery of the current language before one can explore new worlds with any credibility.

The Ruckert Lieder is to me kind of an odd combination of songs but also is Mahler at his time-suspending best (and of reasonable length…see my earlier post about Mahler).

However, if you are thinking about getting  into classical music, is there any better vehicle than the 4th (last) movement of the Brahms first symphony? This is the response of the first composing genius after Beethoven, dealing with legacy of his predecessor.

Even if you don’t know anything about classical music, this music will move you. There is something so perfect about the chord progressions and that wonderful choral harmony. It just works. It’s kind of like water, you just know that you need it and that it is good for you.

It’s hard to not get choked up when an aging conductor, clearly moving slowly on his second curtain call, instead of turning to face the thunderous applause and standing ovation, pauses, with his back to the audience, beaming at the orchestra and making a subtle, sort of stiff gesture with his right hand. Only when he is certain that the message of  “it wasn’t just me, we did this as a team” is transmitted, does he turn and face his appreciative audience.

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