BSENDORFER

The magazine by Bsendorfer Austria N0. 8 | 2013/2014

Interviews: Freddie Ravel / Maria Mazo 185 years of Bsendorfer Viennese Sound

Postage paid | Publishers post ofce: 1010 Vienna, Austria L. Bsendorfer Klavierfabrik GmbH, Bsendorferstrae 12, 1010 Vienna, Austria, mail@boesendorfer.com, www.boesendorfer.com | If undeliverable, please return to sender

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Opus No. 50.000

B S E N D O R F E R The magazine by Bsendorfer Austria

Opus No. 50.000 Good things are worth waiting for

n an age of mass production, we take great pride to be exclusive and original and to continue to create instruments that truly reect our Viennese heritage, with our pure and inspiring sound Der Klang, der berhrt.

Ignaz Bsendorfer founded his eponymous piano company in 1828 dedicated to simply making the best possible instruments. It has been a 185 year journey to reach this milestone.

rom early in our history, Bsendorfer has not only focused on making performance instruments, but also on art case grand pianos for collectors and lovers of ne design. Our Opus No. 50.000 is inspired by two instruments that were created for the 1867 World Exhibition in Paris. Both instruments were neo-classical in concept. One was designed by Theophil Hansen, the famous Danish architect (this year is the 200th anniversary of his birth), who designed many major buildings in Vienna including the world famous concert hall Musikverein with its extraordinary Golden Hall and Brahms Saal. The other was designed by Anton Grosser who incorporated golden caryatids similar to the ones in the Musikverein in his design.

ur Opus No. 50.000 is a neo-classical instrument for the 21st century. One major aspect of the neo-classical design is the extensive use of gold. We have embraced this idea not only by using gold leaf mouldings on the piano, but also by painstakingly covering the entire piano frame by hand with gleaming gold leaf. In addition, the front of the instrument features 2 bronze cast 24 carat gold-plated caryatids, using the traditional lost wax casting method. The design was inspired by the gold caryatids of the Musikverein and from the Grosser piano.

sendorfer has a tradition of excellent piano cabinetry work using precious veneers. To showcase this skill, our design uses 4 different veneers: burr French walnut, French walnut, pear wood and maple. In addition, the treble side of the instrument has a marquetry inlay featuring a harp design. A specially designed 24 carat gold plated commemorative Opus No. 50.000 plate is inserted into the key block.

Bsendorfer Grand Piano Opus No. 50.000 in neo-classical design; above: The 24 carat gold plated commemorative plate |2

E D I T O R I A L

Editorial
Dear Reader,
013 was a very special year for Bsendorfer it was the 185th anniversary of the founding of our company by Ignaz Bsendorfer in 1828, and it was also the year that we built Opus No. 50.000. e are the oldest manufacturer of premium pianos, and both our founder Ignaz Bsendorfer, and his son Ludwig, were dedicated to making the nest possible instruments. They followed the Viennese tradition of piano making using the resonance case principle where the whole body of the instrument supports sound creation like a violin. In an age of mass production, we take great pride to be exclusive and original and to continue this tradition. Indeed, it has actually taken us 185 years to reach the milestone of Opus No. 50.000 good things are worth waiting for! This magazine features stories about the making of Opus No. 50.000 and our exciting 185th Jubilee concert that saw its launch in October.

here is also a feature about the 14th International Beethoven piano competition that took place in Vienna in June, showcasing exceptional young talents, and an interview with the winner, Maria Mazo. ur cover article is an interview with the well known American Bsendorfer pianist, Freddie Ravel, who owns a 290 CEUS, and like many performers, is passionate about our Bsendorfer sound.

O T

here is also an article about the Wiener Klang (The Viennese sound) and the development of grand pianos in general. Please enjoy this magazine but also please look out for the latest stories on our new Facebook account www.facebook.com/Boesendorfer.Klavierfabrik

Brian Kemble, MBE MA Managing Director

Contents
Opus No. 50.000 Good things are worth waiting for .......... 2 Editorial Imprint .................................................................................... 3 Maria Mazo wins the 14th Internnational Beethoven Piano Competition 2013 in Vienna ................................................... 4 Inauguration of the Bsendorfer Hall at Salzburg Mozarteum . .............................................................................................. 6 Martha Argerich judges USASU Piano Competition ................ 6 JJ Lin .............................................................................................................. 7 Wubertiade in the house ................................................................. 7 The space between the notes is as important as the notes themselves .......................................................................... 8 14th International Beethoven Piano Competition 2013 in Vienna ................................................................................................... 10 Celebrating 185 Years of Bsendorfer and introducing Opus No. 50.000 . ................................................................................... 12 Concert Series in the newly restored 1873 HalleNsalon in the Hotel Imperial ........................................................................... 14 First Performance on the Bsendorfer Grand Piano dedicated to El Sistema . .................................................................. 15 Viennese Sound and the Vienna School of piano making .................................................................................... 16 Udo Jrgens Alter Ego ........................................................................ 18 Bsendorfer Model Beethoven . ...................................................... 19 Bsendorfer Model Hummingbird ................................................ 19

Imprint Editor, media proprietor, publisher: L. Bsendorfer Klavierfabrik GmbH, Bsendorferstrae 12, 1010 Vienna, Austria, 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 ofce address: L. Bsendorfer Klavierfabrik GmbH, Attn.: Brian Kemble, Gymelsdorfergasse 42, 2700 Wr. Neustadt, Austria. Senior editor: Marion Alexander. Authors: Marion Alexander, Prof. Jan Jiracek von Armin, Dest-Bsendorfer Taiwan, Ferdinand Bru, Anne-Sophie Desrez, Brian Kemble, Prof. Baruch Meir, Simon Oss, Stefan Radschiner, Markus Walther, Madame Tussauds Wien, Yamaha Music Latin America. Photos: Michael Becker, Nancy Horowith, Imperial Hotels Austria GmbH, Harri Mannsberger, Betty Master, Universitt Mozarteum / Christian Schneider, David M. Peters, Juan G. Ramirez, Shao Tingkuei. Cover: Doug Ellis. 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

B S E N D O R F E R The magazine by Bsendorfer Austria

Maria Mazo wins the 14th International Beethoven Piano Competition 2013 in Vienna
Maria Mazo was born in Moscow and began playing the piano at the age of ve. She studied with several professors at the Moscow Tchaikovsky Conservatory while she was still in High School. She made her orchestral debut with Mozarts Piano Concerto, K. 414 at the age of nine. She completed her studies under Arie Vardi and Matti Raekallio at the Hochschule fr Musik, Theater und Medien in Hannover. In 2004, she won the Beethoven Piano Competition in Mannheim. She has won numerous prizes, including in the Honens (Canada), Busoni (Italy) and Van Cliburn (USA) piano competitions. Already at an early age, Maria Mazo was fascinated by Beethovens music. This deep connection helped her to win this years Beethoven Piano Competition in Vienna. In an interview with Marion Alexander, she offers several personal insights into her life in music.
BSENDORFER: You have already won several international piano competitions. What signicance does the Beethoven Competition in Vienna hold for you? Maria Mazo: For me it is something very special. On that note I have to say that Beethovens music has impressed me ever since I was little. I just like playing Beethoven most of all. It was therefore rather self-evident that I should take part in this competition. I already had the whole programme and already played it in concert. Due to this circumstance, it was quite a special feeling to go to this competition and play the composer with whom I feel particularly good. Eight years ago, I won a little Beethoven competition in Germany. And now Im of course very happy that I also won the big Beethoven competition in Vienna. The signicance is also so great for me because there was a natural developmental process behind it, also pertaining to my repertoire. It was, so to speak, a crowning achievement to present myself with this programme. BSENDORFER: You made your debut with the Moscow Chamber Orchestra with Mozarts Concerto, K. 414 at the age of nine. Do you still have memories of that day? Were you very nervous? Maria Mazo: That was quite easy. Youre so little, after all, and also not that nervous because you dont know that something can go wrong. Of course, I practised the concerto a great deal and prepared it with my teacher. The conductor gave me helpful tips for playing with orchestra and in a large hall, and how the sound develops. But I cant remember being nervous. My parents said I was quite normal the way I always played for someone. Maybe youre just much too young and therefore dont realise what it means to play with an orchestra. Luckily I didnt had any pressure at all, neither from my parents nor from my teacher. The opportunity arose and I wanted to play. BSENDORFER: Was it clear to you from the beginning that you wanted to be a pianist? Maria Mazo: The decision formed slowly. There wasnt a particular moment in which I decided now Im going to be a pianist. When I was four or ve, my mother discovered that I had perfect pitch and could sight read very well. These were |4 good prerequisites for taking up piano. Then I commenced with the Russian school. In Russia you practise a great deal, and that simply went well. Thats how everything developed quite naturally. And at 18 I already had a good repertoire. BSENDORFER: You won the Jury Award at the Van Cliburn Competition in the USA and recorded the documentary In the Heart of Music with three other musicians, in collaboration with the TV station arte. What was that like? Maria Mazo: That was really funny, because it again involved Beethoven this time the Hammerklavier Sonata. I did something that apparently no one else had ever done. In this competition there are several rounds with a solo programme. In the rst round you play for 50 minutes. Practically all participants play pieces by several composers. I went there and said, Im playing the Hammerklavier Sonata period. Besides me, no one had done that. Of course, people discussed whether that was even possible. It was a risky decision, but it was in accordance with the competitions rules and it worked well. I thereby qualied for the next round and drew quite a lot of attention to myself. In the documentary, I discuss this with Menahem Pressler. He was particularly taken with my interpretation and the fact that I already had such a good overview of this great work at the time I was only 22 years old. For the other musicians, the topic was more the situation of the competition in itself and the attendant worlds of feeling. The fact that in this documentary my part was about this work, the music and the composer was really great for me! BSENDORFER: You are here today to select your Bsendorfer grand piano, the competitions trophy. In your opinion, what differentiates the sound of a Bsendorfer grand from that of other grand pianos? Maria Mazo: Im always a bit afraid of generalising. I believe that independently of the brand, every grand piano is different and personal, and whos playing it also makes a big difference. What I especially like about Bsendorfer is the pianos singing quality. This is particularly strong in the piano that I just selected. Out of all these wonderful grand pianos, this one sings the best. This quality is particularly important to me. If I play Brahms, for instance, this singing quality is an

absolute must without it nothing works. Ill soon have this beautiful singing sound every day Im really looking forward to it. It is simply important that you have a good sound available every day. When you do, a very different idealisation of sound develops. BSENDORFER: What is the most important thing in making music to you? Maria Mazo: I cant select a single most important thing just like that. I have to start from the beginning. First of all, there is quality or professionalism, which for me means that I master the work and understand the structure. Only then can I shape the sound and interpret it. And during a concert, the communication with the audience is added to it. BSENDORFER: The audience thereby plays an important role for you does contact with the audience play an important role as well? Maria Mazo: Of course, playing in front of an audience is very important, thats what you work for as a pianist. And the contact with the audience is also important, meaning how do I reach the audience and what impression am I leaving behind? You have contact in all sorts of ways. You can develop it externally, through gestures or a sort of show whereby in this case I dont mean show in a negative sense and of course through the quality and understanding of the work. I always wish for my audience to leave the concert hall with something special, that they can take something with them. BSENDORFER: What do you wish to achieve personally in your life? Is there a very big goal? Maria Mazo: For me, the primary goal as a pianist is to have my audience who likes me as a pianist, my way of playing and my interpretations. As a pianist, I wish to give the audience many beautiful and touching moments at my concerts. Whats very important is to continue developing, not standing still. And then its particularly wonderful to share this personal and musical development with the audience. BSENDORFER: How much do you practise? Does practice time and the way you practise change with experience? Maria Mazo: That varies; pure practice time is about six hours a day, of course depending on what I have coming up. I practise more purposefully prior to a concert. I need this time to practise. Good preparation gives me security, which then permits more leeway for interpretation and expression. Works which I have already prepared I practise differently, though I notice that I dont practise any less. And the more Ive played a work onstage, the more I have to clean it up. I call it cleaning up, by that I mean polishing it technically, to check whether what I wanted to express was successful or where I still want to improve or change something. BSENDORFER: Do you play and listen only to classical music? Maria Mazo: On stage I only play classical. I really like listening to jazz. I did jazz improvisation for some time privately for myself. This is great fun, though now I unfortunately dont have any time for it.

Maria Mazo, winner of the 14th International Beethoven Competition in Vienna BSENDORFER: What do you do to get distance and recharge your energy? Maria Mazo: Naturally, theres not much time in addition to music. But recently I moved to Munich and I really like the mountains. I already look forward to hiking in the mountains and to discovering the surroundings. I also like baking a lot Im pretty good at it. I really like trying out new recipes; I can relax a great deal when doing so. BSENDORFER: Do you have a current project in addition to your concerts? Maria Mazo: A major project for me is the planned CD with works of Beethoven. The contents arent yet entirely set in stone, but the Hammerklavier Sonata will denitely be part of it. The CD should be released in the autumn of 2014. BSENDORFER: Thank you very much for this interesting conversation. 5|

Nancy Horowitz

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B S E N D O R F E R The magazine by Bsendorfer Austria

Bsendorfer Hall at Salzburg Mozarteum

or many years the University Mozarteum in Salzburg and the piano manufacturer Bsendorfer has maintained a good working relationship and an intensive exchange of experience. This led to the idea to dedicate a concert hall to Bsendorfer. The inauguration was celebrated with a magnicent piano recital on 24th October 2013 played by selected piano students of the Mozarteum, followed by Prof. Paul Badura-Skoda giving a master class.

Inauguration of the Bsendorfer Hall at Salzburg Mozarteum and the worlds rst live concert with Bsendorfer CEUS.

ith the inauguration also the worlds rst live concert took place with a performance of the Goldberg Variations by Johann Sebastian Bach played alternately by students on a Bsendorfer CEUS grand piano in Salzburg, Vienna and Beijing.
UniversittMozarteum/Christian Schneider

he Bsendorfer Hall is a further contribution to present the variety of sound. A special type of distance learning the so-called piano skyping takes place also in this hall together with partner institutions in Kobe, Japan and Beijing, China. Via video link the teaching of the professors gets transferred to the local students. The CEUS system of the Bsendorfer grand piano records the piano playing with all ne facets by using high-quality light sensors. At the touch of a button the CEUS grand piano is able to play back the recorded music piece including the moving of the keys and pedals. With the LAN connection the Bsendorfer CEUS grand pianos connect directly in a secure way over the Internet. The development costs for this CEUS internet connection option were nanced by the Red Bull Media House.

Ekaterina Taratorina plays live in Salzburg and Wanjin Ji was broadcasted live per Video and CEUS System from Beijing

orty-two outstanding pianists from around the globe made their way to Tempe, Arizona in January 2013 as the USASU School of Music in the Herberger Institute for Design and the Arts hosted the 6th Bsendorfer and Yamaha USASU International Piano Competition in collaboration with the Phoenix Symphony Orchestra, the Arizona Young Artist Committee, Bsendorfer, Yamaha, and the Arizona Piano Gallery.A total of 198 pianists from 31 countries applied to compete. The 42 selected by a screening committee competed in the semi-nal and nal rounds for prizes including over $50,000 of cash awards, hand crafted medals, engagements with the Phoenix Symphony Orchestra, and recital performances in the United States, Austria and Germany for the winners. Legendary pianist Martha Argerich joined the jury panel. Others on the jury included Israeli pianist and Bsendorfer Artist Baruch Meir who is the founder of the competition and chairman of the jury Sergei Babayan, Choong Mo Kang, Yanina Kudlik and Robert Hamilton.

Martha Argerich judges USASU Piano Competition F

Symphony Orchestra. The Symphony Hall down town was packed with its entire lled 2200 seats. Lindsay Garritson of the United States took third Prize with a performance of Rachmaninoffs rst Concerto, Jaekyoung Yoo of South Korea took second prize with a performance of Brahms second piano concerto, and American Eric Zuber took rst prize with an outstanding performance of Chopins rst piano concerto.
Betty Master

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or the rst time since the inception of the competition in 2006, the nal of The Bsendorfer competition included concerto performances of the nalists with The Phoenix

Choong Mo Kang, Martha Argerich, Sergei Babayan, Jaekyoung Yoo, Eric Zuber, Lindsay Garritson, Yanina Kudlik

I n t e r n at i o n a l

JJ Lin
S

I have always believed great sound inspires creativity. With Bsendorfer, I literally feel myself writing better as I play!
ingaporean Mandopop Singer-songwriter, Composer and Actor JJ Lin () is one of the most outstanding artists of our times, having alone on Chinese social media network weibo more than 20 million fans. As an artist he has received dozens of awards, among them he won in 2012 the MusicRadio China top ranking with the Best Producer Award, Best Male Vocalist Award, Best Composer Award as well as 10 Golden Melody Awards. This year JJ Lin acquired a Bsendorfer Audi Design piano for his studio and recorded his latest album stories untold on it: This album being the 10th, being the one to commemorate the 10th anniversary and thank the fans with, I thought of taking it to a different level, a level closer to my heart and my roots. Its time to open up more of my heart and I think its time to really let everyone see that Im ready to be more myself. After his tremendous success in China, JJ Lins world tour 2013 took him among other countries to Singapore, the USA, Malaysia, the U.K. and Australia. www.jj-lin.com
Shao, Tingkuei

JJ Lin on Bsendorfer: Great sound inspires creativity

Wubertiade in the house

C
hristine Wu is a concert violinist, cellist, composer, string arranger, and studio musician. Her signature style combines knowledge and virtuosity from classical training with an ability to improvise and adapt the violin to musical genres ranging from Mozart to Metallica. These abilities have led to her becoming one of the most in-demand musicians in Hollywood today. Christine has performed and toured with such music industry legends as Paul Anka, Beyonc, Justin Timberlake, Bono, Celine Dion, Barbara Streisand, and Andrea Bocelli, to name just a few. Shes seen regularly on hit television shows such as The Voice, American Idol, Americas Got Talent, Dancing with the Stars and The Tonight Show. But not only is she a great performer, shes a passionate composer. Christine says shell write her original music almost exclusively on her new Bsendorfer 185, named Victoria. It has a dark sparkly sound and a clear, delicately responsive, resonant beauty that is otherworldly to me. So many composers, songwriters and musicians have already come over to play, create and jam around this rare and beautiful instrument. I look forward to the endless parade of talent who will come join me at the piano for the love of music.

In the 1800s, Franz Schubert hosted Schubertiades, concerts put on for a small group of friends and fans. Following this tradition and spirit, Christine Wu holds chamber music sessions in her own house.
Michael Becker

Christine Wu: www.wutunes.com

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B S E N D O R F E R The magazine by Bsendorfer Austria

The Space between the notes is as important as the notes themselves

In Interview: Freddie Ravel. With a keen ability to create cultural collaboration through music, Freddie Ravels career spans six continents and three decades of producing, recording and composing with such diverse musical legends as: Earth, Wind & Fire, Al Jarreau, Sergio Mendes, Madonna, Prince, Quincy Jones and rock legend, Carlos Santana. In an interview with Simon Oss he speaks about bridge building, vibration, his belief in the force of music, and his unique Human Harmonics seminars and Keynote Concerts.
BSENDORFER: You are one of the most versatile artists of our times. How would you describe yourself and how did your career as a musician start? Freddie Ravel: I guess Im a bit of a music synergist and cross-platform-communicator through music. My father is of Russian, German and Polish heritage, born in NY while my mother is from Cali, Colombia. As I was growing up, it wouldnt be unusual for me to hear the Cumbia right next to Mozart or the Samba next to Beethoven. My life has been one of being a sort of a cultural bridge. My journey began when I was hired by Sergio Mendes right after I graduated at the age of 23, with my degree in composition from California State University Northridge. There I was, in an all-Brazilian band. A few years later, I would become as I like to say the only white guy in an all black band that happened to be called Earth, Wind and Fire (laughing). Also my second album called Sol to Soul, is a bridge album. It has six different genres on it, spanning Samba to Salsa, RnB and even some straight ahead Jazz. Ive always believed in blending styles and thankfully, MUSIC offers an innite combination of ways to access the soul. BSENDORFER: Nietzsche said: Without music life would be a mistake. Freddie Ravel: Thats a great quote man! Music is vibration and frequency. To me, and I think to many human beings, we intuitively feel music when we hear the wind through the trees, when we hear the sound of the waves crashing at the ocean, when we hear the babbling of a brook. I mean, can you imagine life without that? It would be awful like a life without color. The other reason why we are so married to music is, that we, as human beings, are nothing more than vibration; and the way we connect to each other has everything to do with resonance. There is a poem I wrote last year in an attempt to capture the power of music called: If Music Could Speak. The opening line of the poem is: Music is the great invitation for mankind to transcend spoken word. To enhance how we think and put into sync, so we hear what is mostly not heard. It is my attempt at trying to get the power of Music into Spoken Word/Poetry. This all stems from my belief that Music allows us to have a taste of God in its own way. BSENDORFER: Is there any personal key experience in your life related to making music? Freddie Ravel: I was touring with Al Jarreau in July 2001 and we were playing Take Five in Tabarka, 10 miles from the bor|8 der with Algeria. And we are in an old outdoor theatre and everyone is dressed in long, white traditional Arabic dress and the audience is looking at us and they are holding their hands up whilst we are playing the classical American Jazz piece. Take Five very passionate, very fast. They are listening deeply to the music and there is so much love, you can feel it in the air. Here we are, in Africa, in an Arabic country, playing classic jazz and people are receiving it with so much love and passion. That same night I came back to my hotel and I got a fax from my manager: Freddie, your album with the single, Sunny Side Up, has just hit number one in the United States. And I am in the hallway of the hotel reading this and I start crying in joy while two gentlemen from Tunisia are with me and join me in an impromptu moment of prayer and gratitude for the good news! Two months and a week later is 9/11/01. Two days later I get an email from one of them who writes:Freddie I dont know what this is, but I am grateful for our friendship. And it really brought me strength to have this communication with this man. I realized right then and there that music connected us beyond politics, beyond war, beyond devastation. And I realized that the one thing that could get us out of this pickle of misunderstanding could be the worlds undisputed international language, Music! This is really where the origins of Tune UP to Success and Human Harmonics started. BSENDORFER: You play digital as well as acoustic keyboard instruments. Where do you see the qualities of each? Freddie Ravel: We are sitting here in my studio in Los Angeles and I have an 88 note electric keyboard. Its a great tool, a bit like a Swiss Army knife. But when I go to my 290, before I even sit down, I take a moment, I breathe in, and I go what a blessing and then I play. With my synthesizer I dont do that (laughing). No disrespect but when Im playing my electric keyboard its nice but when I play the 290 its a completely different expression. And to me it all comes down to the way it vibrates. Its like a living organism, every aspect, the string, the wood, the felt hammers, the feel of the keys, the action. The synthesizer is very convenient when Im programming and producing music. But for really deep heartfelt expression Im going to go to my 290. BSENDORFER: How did you nd your Bsendorfer? Freddie Ravel: Freddie Ravel: Since I was about 16 Ive been a tremendous fan of Chick Corea, Herbie Hancock, Keith Jarrett

and Joe Zawinul. I loved their approach to the piano. And when I got to age 29 to record my rst album deal for Polydor, Japan, they asked: Where would you like to record your rst album? And I said: Lets do it at Chick Coreas studio! When I got to Chicks Mad Hatter Studios and this is in the early 90s he had two pianos. I tried both and I just loved the Bsendorfer Imperial. I loved the way the top end of the piano could sing. The sound sustained like a bell, better than anything else I could nd. So I would call it the cantabile, like by Bellini. The singing quality of the 290 was what got it for me. And of course the low end on it was incredible; I love the extra keys. At this point I started also performing lots of shows such as the NAMM music show in Los Angeles. As a producer I use different microphones, different synthesizers, different speakers, so every year I am invited by different companies to perform. But every time I left the oor at NAMM I would go sneak into the Bsendorfer room. Because thats where I would spend my time, because thats the instrument I love. So one thing led to the other and it became time to decide what piano to get and I decided Lets just get the greatest piano on earth. BSENDORFER: From the many collaborations you had with other artists, are there any that struck you in particular? Freddie Ravel: Well, Ive been really, really blessed Simon. Of course Earth, Wind & Fire, Bobby McFerrin and Madonna, in her own way. I didnt spend so much time with her, but it was very profound. I did the piano work on the Evita project. To work with Carlos Santana was an incredible experience as well as working with my very good friend Al Jarreau. These are not just human beings, they are like treasures. They are living legacies; they artistically paint in real time, take the craftsmanship of music and give you pictures of life instantly. The one thing about working with Al Jarreau is that he is a chameleon; he can do everything. He is the only artist in the world that has won Grammy Awards in three completely different categories: Pop, RnB and Jazz nobody else has done that. So when you sit with Al Jarreau you get multiple worlds. Carlos Santana is also very cosmic. What makes them truly special is that they are both bridge builders. BSENDORFER: You have also a very interesting project called Human Harmonics. Freddie Ravel: I believe, if we are all tuned-up and focused on our passion and our purpose, we can bring quality and value to each other. So I decided to bridge music with a business model. Business to me is not about making a killing in the stock market nor just about making shareholders happy, its about creating win-win environments. And I think the greatest music works the same way. If I am sitting here with Al Jarreau or Carlos Santana or Yo-Yo Ma, we are helping each other with the desire to get to the best result possible. We are playing from collaboration and the listener hears the third energy, the synergy. Synergy is where the whole is greater than the sum of its parts. So I began to present live interactive performances and events that I call a keynote concert. I speak about melody, harmony, rhythm: Melody as a leadership idea, harmony

Doug Ellis

Harmonics Maestro Freddie Ravel at his Bsendorfer 290 Ceus about being collaborative, while rhythm is all about time management. If you have really good leadership, syngergistic collaboration and solid time management, you get success. Thus far weve been able to present it to people at Morgan Stanley, Walmart, NASA, Apple, Red Bull, Google and also private organizations such as the Parkinsons Resource Network. We pretty much use music for entertainment and to escape, which is ne, but I also want to ask: How are you using your melody today? What if we take your passion and your purpose, and call that The Melody? How are you going to express that today? How are you going to harmonize and collaborate with your colleagues today? What kind of listening skills are you going to use to make your relationships more important and Harmony come alive? BSENDORFER: Its interesting that you stress listening Freddie Ravel: Remember the old saying: Stop and smell the roses? Its about the pause. In our ever racing world that is moving at light speed and ever-accelerating, we need to take a moment to pause and smell the coffee, smell the owers, enjoy each other. And music will remind us about that. Because music suspends time and helps us be more present and available to one another. Music can truly be a medicine and so my closing thought is The Space between the notes is as important as the notes themselves. Thats where the real gems and jewels of our existence live. Its in that harmonic resonant vibration that music offers us. And Im glad to have my Bsendorfer to get me there. To learn more about Freddie Ravel and Human Harmonics, visit: www.freddieravel.com 9|

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B S E N D O R F E R The magazine by Bsendorfer Austria

14th International Beethoven Piano Competition 2013 in Vienna

The artistic standing of performing musicians is to a large extent determined by the quality of their Beethoven interpretation. This unique Viennese competition enables young pianists to demonstrate their musicality and display their artistic maturity. Jan Jiracek von Arnim, Artistic Director of the competition and Chair of the jury.
Nancy Horowitz

Prize ceremony in the Musikverein, Golden Hall, on June 20, 2013

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he International Beethoven Piano Competition in Vienna is the oldest and most important piano competition in Austria and is organised and presented by the MDW University of Music and Performing Arts, Vienna. Due not least of all to the Viennese piano tradition taught at this institution, it enjoys a high international standing and is among the top music universities worldwide. ounded over 50 years ago by Professors Richard Hauser and Josef Dichler, since then every four years selected young pianists have gathered in Vienna to demonstrate their skills in front of an international, top-level jury and the Viennese audience. From the beginning, the goal has been to offer outstanding musicians a platform on which they can present their artistry to a broad audience.

concert pianists: In studying the piano works of Beethoven, one encounters difculties, questions and problems, the overcoming of which forms not only part of the pianistic, but also the entire artistic, indeed human education of a musician (Edwin Fischer).

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he exclusive instrument played at this competition is a Bsendorfer which guarantees the unique Viennese sound. By tradition, the nale takes place with orchestra in the Golden Hall of the Vienna Musikverein. The artistic renown of this competition is conrmed by prizewinners such as Mitsuko Uchida, Avedis Kouyoumdjian, Stefan Vladar and Jasminka Stancul. or the 14th competition in 2013 under the patronage of Austrian Federal President Dr. Heinz Fischer more than 250 young pianists from 43 nations applied to participate. This high number of applications is a further index of the internationally outstanding signicance of this competition. The pre-selection rounds for the main competition took place in January and February 2013 in international music metropolises: New York City, Tokyo, Berlin, Bonn, London, Paris and Vienna. 36 young musicians were selected to participate in the three rounds of the competition, held between June 10 and 20, 2013.

t is not the usual competition repertoire, from the virtuoso etude to the thunderous Rachmaninoff concerto that is requested at this competition. Rather, the programme is composed exclusively of works by Beethoven. By preparing for the competition and thereby via the intensive engagement with the compositions of Ludwig van Beethoven, the path to interpretive maturity evens out for many young musicians this path is the goal. The compositions of Beethoven represent a supporting pillar in the training of all budding | 10

he 2013 competition commenced on June 10 in the Glserner Saal of the Musikverein with a lecture by piano legend Paul Badura-Skoda, who, in a touching and highly personal manner, expressed his lifelong engagement with Beethoven. In his lecture, he quoted Edwin Fischer, who once offered his students the following life lesson: Do not destroy this world born of the subconscious, accord it its place: dream, look, have visions, do not allow yourselves to play records until you become a gramophone record yourselves, always repeating yourselves; but rather suffer, love, live an ever-renewing life! An unforgettable evening for everyone who could be there! or both the international jury (with members including Jasminka Stancul, Markus Schirmer and Andreas Haeiger) and the interested audience, these were enriching days that demonstrated how high the artistic level of the young generation is. This generations dedication to the challenges of Beethovens piano works is remarkable. The demands were high: All participants were required to prepare works from all of Beethovens creative periods and to put two piano concertos in their programme which would be prepared for the nale. Two days before the nale on June 20, a lottery then determined which of the two prepared concertos the three selected nalists had to play. Some listeners even travelled from countries such as South Africa and Japan specically for the competition.

utstanding talents will deserve our attention in the future too, as well as our active support! The great audience popularity and the approbation of the audience encouraged the participants of the 14th International Beethoven Piano Competition in Vienna along their paths. A competition of this magnitude can only be possible via support from many parties. Already on the evening of the nale, there were commitments by sponsors to support the next, 15th, Beethoven Piano Competition in Vienna in 2017. Preparations are already underway. For further information on the International Beethoven Piano Competition in Vienna, visit www. beethoven-comp.at

Jan Jiracek von Arnim

David M. Peters

he nal concert with orchestra in the Golden Hall of the Vienna Musikverein was the highlight this year as well. For the rst time in 13 years, an Austrian was among the nal three participants competing for the rst prize: Valentin Fheodoroff (b. 1993) impressed listeners with a sensitive interpretation of the Piano Concerto, Op. 37, insightfully accompanied by the Camerata Salzburg under its principal conductor Louis Langre. In addition to him, two Russian participants were in the nale, Maria Mazo (b. 1982) and Andrey Gugnin (b. 1987). In the end, Maria Mazo won the rst prize (8000 euros), donated by the MDW, and a Bsendorfer Model 200 grand piano symbolically presented at the prize ceremony by Managing Director, Brian Kemble. Maria Mazo had already impressed the jury during the rst two rounds with her artistic maturity. In the nale, she was also able to convince the jury with her interpretation of the Fourth Piano Concerto. Fheodoroff and Gugnin shared the second prize. In addition there were numerous special prizes and invitations to prizewinner concerts. The Beethoven Piano Competition is a unique platform and makes it possible to encounter young talents prior to their leap to a major career. For the young pianists, it is an unforgettable moment to present their skills on stage in the Golden Hall of the Vienna Musikverein with orchestra for the rst time in their lives. For the development and unfolding of their talent, it is essential to nd an audience and to be heard. For this reason, the promotion of tomorrows artists is very important.

Jan Jiracek von Arnim, born 1973 in Hannover, studied piano with Hans Leygraf in Salzburg and Berlin and won numerous competitions. He has been a professor of piano at the University of Music and Performing Arts in Vienna since 2001. He gives regular masterclasses in the USA, Asia and Europe and is a jury member at international piano competitions. In 2012 he received an honorary professorship from the China Conservatory in Beijing. In addition to training the next generation, communicating classical music is especially dear to him. In special programmes, he introduces school children to classical music and creates programmes combining speaking and music for concert halls such as the Glserner Saal of the Vienna Musikverein. His biography of Franz Liszt was published by Residenz Verlag in 2011. In 2011, Jan Jiracek von Arnim was named Artistic Director of the International Beethoven Piano Competition in Vienna by the head of the University of Music and Performing Arts Vienna, succeeding its Director of many years, Prof. Heinz Medjimorec. For further information, visit www.jiracek-von-arnim.com

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C e l e b r at i o n

B S E N D O R F E R The magazine by Bsendorfer Austria

With great ceremony and a gala concert, Bsendorfer celebrated the companys 185th anniversary in the Vienna Musikverein on October 22, 2013.
Photos: David M. Peters

Celebrating 185 Years of Bsendorfer and introducing Opus No. 50.000

Kristina Ermolenok and Jasmin Avissar unveiled the Bsendorfer grand piano Opus No. 50.000

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he gala concert for the double anniversary, titled From Classical to Modern, brought a widely diversied programme through various musical genres with a selection of outstanding artists, some of whom have been closely connected to the Bsendorfer company for a very long time. Oliver Graber, composer, pianist and currently dramaturge for the Vienna State Opera Ballet, led the audience through this special evening.

audiences with good insight into her life as an artist. At the press conference which took place in the morning, she said, Bsendorfer has a unique, special sound: not only a voice of its own (it speaks, it sings), but it also carries a special tradition a historic legacy. Bsendorfer is part of who I am. n honour of the anniversary, Carlo Grante played Chopins Scherzo No. 1. He is among the leading Italian concert pianists and, with over 50 CDs, is among the artists with the most CD recordings. The repertoire he has recorded covers both known and unknown piano works. He is also an enthusiastic proponent of Busoni, which is reected in his discography. And as is well-known thanks to Busoni, Bsendorfer build the Imperial grand piano with its full eight octaves. Carlo Grante describes the Bsendorfer grand piano as my friend.

n the rst part of this gala, the artists played on a Bsendorfer Model 280 concert grand. The event was opened musically by the bearer of the Bsendorfer Ring, Paul Badura-Skoda. He is after Wilhelm Backhaus only the second person to bear this distinction, which is handed down in the tradition of the Ifand-Ring. At age 86, he continues to be active on four continents. He is among the last representatives of his generation for whom music represents the core of European culture. Paul Badura-Skoda also gave a commemorative speech and subsequently played the Rosamunde Variations by Franz Schubert.

he pianist Valentina Lisitsa, born in Ukraine, followed with Ave Maria and the Erlknig by Franz Schubert in the transcriptions by Franz Liszt. With the Erlknig, she also provided the musical background for the latest Bsendorfer video The Birth of Opus No. 50.000. With over 60 million views on YouTube, Valentina Lisitsa is among classical musics frontrunners on the web. For her, the internet is among the most important factors of her career. She has not only made her public concerts publicly accessible, she has done so for her practice sessions as well, and thereby provided

he young Russian, Maria Mazo, followed. The winner of the 14th International Beethoven Piano Competition 2013 made her orchestral debut already at the age of nine with Mozarts Piano Concerto, K. 414. She played a piece by her favourite composer, Ludwig van Beethoven, the rst movement of the Appassionata Sonata. At her apartment in Munich, Maria Mazo is already enjoying the winners trophy of the Beethoven Competition, her new Bsendorfer grand piano. When selecting the piano, she revealed: I look forward to being able to play and hear this wonderful singing sound every day. n addition to musical words, there were also spoken words. Bsendorfer Managing Director, Brian Kemble,

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At the end, the artists once again received passionate applause greeted the guests and enticed them to take a little trip through time and the Bsendorfer company. It is wonderful to celebrate our anniversary with so many artists and guests, some of whom have been very close to the Bsendorfer company for many years. He also conveyed the congratulations of the Federal President of Austria, Dr. Heinz Fischer. Representing Yamaha Corporation of Japan, Yasuaki Gyoten expressed words of recognition and appreciation from Bsendorfers parent company. He highlighted Yamahas duty to the Viennese sound and Austria as the site of production. The Austrian Chamber of Commerce, represented by Dr. Richard Schenz, awarded Bsendorfer a distinction for its 185 years of business activities. special surprise gift, a golden sampan, was presented by one of the Bsendorfer companys longest-running business partners, Frank Lee, President of Tom Lee Music, Hong Kong. Decades ago, his father laid the cornerstone for this steady business relationship. May Bsendorfers sails forever be lled with the winds of fortune and bring happiness and prosperity to all he wished the Bsendorfer company. an Jiracek von Arnim ended the rst half of the gala concert. However, he discarded his planned piece Isoldes Liebestod (Isoldes Love-Death) on short notice and explained: On such a lovely evening you shouldnt die, but rather dream and do so with Liszts help, the Liebestraum (Love Dream). Since 2001, Jan Jiracek von Arnim has been the youngest university professor of piano at the Institute of Keyboard Music in Vienna and is now Artistic Director of the International Beethoven Piano Competition in Vienna. Communicating classical music is especially dear to him. He is thus working intensively with American organisations to introduce school children to classical music in special projects. fter the intermission, the second anniversary the 50.000th Bsendorfer instrument was unveiled in dance fashion by Kristina Ermolenok and Jasmin Avissar, performing to a composition written and performed by Oliver Graber. The second half was thus characterised both tonally and optically by the artwork Opus No. 50.000. The fundamental stylistic elements of this grand piano in a neoclassical design are the handcrafted marquetry and the comprehensive use of gold throughout the entire piano.

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he dance performance was followed by Daniel Seran, a versatile artist with a broad opera and lied repertoire ranging from Classical to modern works. For him, the Bsendorfer sound is liquid amber. Accompanied on the piano by Jan Jiracek von Arnim, he sang Mein Whnen (My Obsession) from Die Tote Stadt (The Dead City) by Erich Wolfgang Korngold and Es muss ein Wunderbares sein (It Must Be a Wonderful Thing) by Franz Liszt. he Cuban jazz musician Marialy Pacheco showed with modern Latin American Jazz how wonderful the Bsendorfer harmonises with this music. My music comes from the heart; it is the only way I can truly express myself. The only thing I want to do in life is to play the piano. Marialy Pacheco won the renowned Montreux Jazz Solo Piano Competition in 2012 and was the rst woman ever to win this special prize. She would have loved to have taken Opus No. 50.000 home with her and said: Bsendorfer has the perfect sound for what I play.

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n the end, the Janoska Ensemble presented the Bsendorfer from its ery and temperamental side. They nished with their own version of the Czardas Variations by Vittorio Monti. The ensemble was founded by the brothers Ondrej, Frantisek, Roman and rpad Jnoska and family member Julius Darvas, all of whom have already played as soloists and ensemble members in other groups. t was a wonderful, brilliant gala concert, supported by the many guests, friends, business partners, employees, and of course by the artists, their passion for music, their dedication and their lifeblood. What would the world be without them? If a Bsendorfer piano could speak, it would perhaps lean on Marialy Pachecos words and say, The only thing I want to do in life is to play. 13 |

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B S E N D O R F E R The magazine by Bsendorfer Austria

Concert Series in the newly restored 1873 HalleNsalon in the Hotel Imperial.
A musical collaboration of the Hotel Imperial and Bsendorfer
Photos: Imperial Hotels Austria GmbH

Hotel Imperial, Vienna pened in 1873 the Hotel Imperial is located in the heart of Vienna in front of the Vienna Musikverein. The HalleN salon has always been the social heart of the hotel. For traditionalists it is the HalleNsalon, whereas for objective observers it is Halle & Salon where the impressive architecture of the historic Palais blends with a cozy living Imperial salon. The newly created space with the feel of a library and with a replace, chandeliers and Bsendorfer grand piano provides an open and private atmosphere. Halle & Salon are epitomes of Austrian social culture, a bridge between tradition and now. Stylish, light, playful an association of classic library, royal tradition and modern practicality. This is how this new (old) meeting place in Vienna is presented.

The restored 1873 HalleNsalon o, in 2014 the Hotel Imperial, in cooperation with Bsendorfer, is arranging a concert series with young, talented artists. Four concerts a year one per season will take place on a Bsendorfer grand piano in the traditional atmosphere of the newly renovated HalleNsalon. The Hotel Imperial and Bsendorfer offer music lovers the possibility to experience the wonderful sound of the Bsendorfer grand piano in a rened and intimate setting.

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sendorfer is one of the oldest piano manufacturers in the world, rich in tradition and world famous for our distinctive inspiring sound as well as the outstanding quality of our instruments. The selection of best materials and above all the extremely careful workmanship which is done mostly by hand even today, have distinguished every single Bsendorfer instrument since 1828. Yet it is not magic that makes a Bsendorfer so special. In every Bsendorfer piano lies not only an entire years worth of work, but also the know-how that is passed on from one generation to the next.

he opening concert will be held on St Valentines Day 14th February 2014. Maria Mazo, the Russian pianist will perform on a Bsendorfer grand piano model 214 Beethoven. At the age of nine years, she made her debut with orchestra in Moscow. She is prize-winner of numerous competitions and won the latest, 14th International Beethoven Piano Competition in Vienna in 2013.

his particular co-operation brings fresh momentum to the musical city of Vienna. The Hotel Imperial has created amongst all its amenities and luxury atmosphere a possibility to have a cultural encounter in an Imperial setting. Young pianists will get an opportunity with this new concert series to show their musicality and their skills and thus to get connected with the traditional Viennese salon culture.

he Hotel Imperial has always hosted famous musicians from around the world. Whilst the Bsendorfer Stadtsalon in 1914 Ludwig Bsendorfer established this showroom in the building of the Wiener Musikverein has always been a meeting place for artists from throughout the world. Through this connection the idea evolved to enable a contemporary renaissance of the unique Viennese salon culture. In the 19th century elegant salons played an important role in the musical life of Vienna, where the most important composers of the time would present their works. | 14

s Victor Hugo said so aptly: Music expresses that which cannot be put into words and that which cannot remain silent.

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or more information on this concert series, please visit: www.imperialvienna.com/boesendorfercycle.

P l ay & F I G H T

A great concert was performed on 10th November 2013 in the Simn Bolivar Hall at the National Centre of Social Action for Music by a young pianist, Kristhyan Bentez, who was the rst to play the Bsendorfer Grand Piano Model 280 since it was brought to be used exclusively by El Sistema, with an inscription in Spanish that reads (To Play and To Fight).

First Performance on the Bsendorfer Grand Piano dedicated to El Sistema

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he motto of the Venezuelan Youth Orchestra System, para Tocar y Luchar (To Play and To Fight) reects the determination and effort which has always characterised its members and which has led El Sistema to become the most important orchestral and social project in all of Venezuelan musical history. From the beginning, when we set up the rst youth orchestra, we knew we had to overcome many obstacles, and that we could not just dedicate ourselves to playing. We had to struggle a great deal during the early years to make every aspect of this musical education reform, as well as its social and cultural benets, known to all in order for it to grow and become a sustainable programme, a goal which we have successfully accomplished. This is how Maestro Jos Antonio Abreu explains his slogan To Play and To Fight, which denes the spirit of El Sistema pioneers and of the current generations.

Juan G. Ramirez, Yamaha Music Latin America

os Antonio Abreu, a manager, entrepreneur, distinguished Maestro and tutor of several generations of Venezuelans, and founder of the National System of Youth Orchestras and Choirs of Venezuela should be dened in one word as a Visionary. This Venezuelan musician, a sower of hopes and builder of dreams, has carried out a task that exceeds all musical and cultural horizons, and has set himself the task to rescue and educate the Venezuelan and Latin American youth.

Kristhyan Bentez with Venezuelan Youth Orchestra at Simn Bolivar Hall dren and adolescents, most of whom come from low socioeconomic backgrounds, are involved in the study of music, enjoy learning about art, play classical music, and have been included in a personal and collective education system, where social, moral, and spiritual values are instilled, which is the main purpose of the programme.

or Plcido Domingo Maestro Abreu is a unique being as his idea is being accomplished in many parts of the world. All Venezuelans should be very proud of him, of his orchestras, and of the fruit of his work, including one of the greatest conductors in the world, Gustavo Dudamel. I cannot cease to praise El Sistema, which is why I carry my admiration everywhere.

nd Sir Simon Rattle says about Maestro Abreu: He has dedicated his life to changing the lives of many young men and women through music and El Sistema. Thanks to his inuence, more and more youngsters around the world can benet from the power of music to reach people everywhere and make things change. Working with these young musicians is a privilege and a great pleasure, and it helps to put ones feet on the ground. fter 38 years of relentless work under the motto To Play and To Fight, the National System of Youth Orchestras and Choirs of Venezuela shows a reality that has been described as the Venezuelan musical miracle: 400.000 chil-

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his population of 400.000 Venezuelan children and youth is distributed among approximately 285 pre-school orchestras (with ages between 4 and 6 years), 220 school-age orchestras (between 7 and 16 years), 180 youth orchestras (between 16 and 22 years), 30 professional orchestras, 360 choir groups, 1,355 afliated choir groups, 20 lutherie workshops, and 15,000 teachers throughout the country. This Venezuelan experience has caused a great cultural and social impact upon countries seeking to reduce their levels of poverty, illiteracy, marginalisation and exclusion among their young populations. By 2013, over 35 countries have established orchestral ensembles and music teaching programmes inspired by the Venezuelan programme.

he rst performance of this Bsendorfer grand piano further consolidates the relationship and 15-year alliance between El Sistema and Yamaha Music Latin America and Yamaha Musical de Venezuela, who are Bsendorfer distributors. 15 |

F A C T O R Y

BS BE N SD EN OR DF OERRFEdie R Zeitschrift The magazine von Bsendorfer by Bsendorfer sterreich Austria

Viennese Sound and the Vienna School of piano making

Viennese Sound he term Viennese Sound represents those tonal characteristics which are relevant both for musical creation in this city in general, and for Viennese Instruments and the connected tonal style of Viennese Orchestras in particular. This unmistakable and typical Viennese sound is determined on the one hand by the specic tradition of Vienna as a leading musical centre and the naturally arising style of musical expression there. On the other hand it is also determined by the peculiarity of Viennese instruments, which have developed their own individuality independently from others. In the eld of orchestral instruments the Viennese horn and the Viennese oboe for instance are well known representatives of individual forms. Generally one can say that Viennese sound prefers a broad spectrum of sound colours. This is one of the key reasons why Viennese instruments have developed independently. Viennese makers up to now have continously avoided certain developments in musical instrument design, which aim at easier playability or higher volume, whilst at the same time also restricting the richness of partial notes and colours, as well as the instruments differentiability. Taking it all together the distinctive characteristic of Viennese sound can be described as being somewhat more profound and at the same time very colourful, whilst conveying a certain warmth, which is embodied uniquely in this city and cannot be found to the same extent in any other place in the musical world. Founded in 1971 there exists a dedicated Institute for Viennese acoustics at the University of Music and Performing Arts, Vienna, where the singularity of Viennese sound is analysed and studied on a scientic basis.

Maximum use of resonant spruce tonewood here at the inner rim and key bed. t the production facilities at Bsendorfer Wiener Neustadt modern technologies like CNC operated machines have been integrated into the manufacturing processes. Yet this technology does not conict with the traditional craft principle of the resonance case, but actually is able to complement individual craftsmanship perfectly by allowing the possibility of beneting from extremely precisely manufactured basic components made from wood or metal. Development of the Vienna School of piano making n the long history of piano making from the invention of the Fortepiano around 1700 by Bartolomeo Christofori at certain times different local centres of competence have developed. Between the end of the 18th century until approximately mid 19th century Vienna held the technological leadership in piano making. The Viennese piano makers instruments were played and highly valued at that time by the most signicant musicians and composers like Haydn, Mozart, Beethoven and Schubert. Leading names on the scene were among others Gebrder Stein, Conrad Graf, Anton Walter and Andreas Streicher.

aturally this differentiation of Viennese sound can also be found in the piano. Bsendorfer instruments are part of this development in two ways on the one hand the development of the pianos and the brand was directly inuenced by Vienna as an extraordinarily active musical city with its numerous prominent protagonists and on the other hand Bsendorfer itself became synonymous with and a key element of the unique and unmistakable Viennese sound. For Bsendorfer pianos the same attributes like richness of sound colours, differentiation and tonal warmth are essential parameters to dene the specic character of the instruments. For 185 years Bsendorfer has been loyal to this tradition of Viennese sound philosophy and therefore distinguishes itself from all other piano manufacturers in the world. Bsendorfers resonance case principle supports this tonal nature in an ideal way and requires a high degree of specic craftsmanship. A maximum use of resonating spruce is an important precondition for the achievement of this particular sound quality.

Fortepiano by Johann Baptist Streicher, Vienna | 16

he acoustical foundation of the so called fortepiano was strongly based on predecessors like the cembalo. Differently to the modern piano relatively thin strings were used having much lower tensional force. Over a period string diameters and tensional force were gradually increased in order to better meet the requirements of higher volume and dynamics. Technical developments were pushed on also in the eld of the extension of the tonal range such as that which was required by Beethovens Hammerklaviersonate op. 106. Composed in 1817/18 the piece compassed 61/2 octaves which exceeded the key range of pianos at that time. Instruments equipped with a tonal range of 61/2 octaves were built subsequently from 1820 for the rst time! During this time also the Viennese action was established which introduced an individual and exible release element for the mechanism. Due to this innovation a new and improved standard for piano actions was dened. he Viennese action allowed for the time being an unrivalled quick, responsive and light play. Only by the end of the 18th century was the Viennese action gradually superseded by the English action. Due to this invention and the introduction of the cast iron frame suddenly even much higher string tensions were possible to achieve. Naturally this tendency was accompanied by both wider string diameters and enormously higher stiffness of the entire string assembly. Necessarily greater weight of single action components like the hammers caused a negative impact on the Viennese action system and the touch became increasingly inert and stiff, so the initial advantages were lost.

ll together the Viennese piano manufacturing scene was of a small structure. There were numerous piano makers with only a few staff producing a small number of instruments per year. At the same time at the end of the 19th century big piano production arose in the course of the common industrialization and due to strongly rising international demand for pianos which left the Viennese makers quickly behind in terms of production volume. Production numbers were growing rapidly in England, Germany and most notably in the United States and later also Japan. The manufacturing process became organized much more industrially and piano design was adjusted to this kind of manufacturing method. ll Viennese manufacturers stayed faithful to the traditional solid wood based construction, whilst internationally the manufacturing of the lamination hardwood rim system for grand pianos became a standard, which seemed to be better suited for mass production. Within this detail we can see clearly a parallel development to the Viennese orchestral instruments which in the same way did not follow the various changes in design and construction in order to preserve their specic tonal attributes, even if the changes became standard everywhere else. or many of the protagonists of the Viennese school of piano making a negative effect arose from insistently using the no longer accepted Viennese action. The instruments were not competitive anymore and a big number of makers had to give up their business at this time. Only those manufacturers which have decided to go for the English action in due time could hold their ground within the global piano market. Along with Bsendorfer there were other brands like Ehrbar or Stelzhammer and all these manufacturers were able to produce sufcient quantities to remain competitive. In comparison to the big industrial production companies though the volumes of Viennese manufacturers remained rather moderate, but with very high quality. Bsendorfer has continuously done further development and has introduced new models over the years in order to meet the timely requirements and expectations of pianists and customers. Despite all necessary developments and changes the unique Viennese sound of Bsendorfer pianos as well as the sound of the Viennese philharmonic orchestras remain alive and unmistakable.

ithin the blossoming of this glamorous Viennese piano making era Ignaz Bsendorfer founded his company in 1828 by taking over the small manufacturing workshop of his predecessor Joseph Brodman. Despite the strong competition of very well established piano makers Ignaz Bsendorfer could develop his position on the market and increasingly managed also to win recognition. In particular the fact that the local rising star Franz Liszt clearly preferred Bsendorfer instruments to all other pianos allowed the reputation of Bsendorfer as a brand to develop ideally and also helped the commercial success of the company. Bsendorfers production facilities had to be moved several times to larger locations within the city in order to meet the increasing demand. iennese piano makers were producing their instruments rst and foremost for the Viennese bourgeoisie at the heyday of the Austro-Hungarian monarchy, who had enough income to afford good pianos. A piano was counted as a must have item for any advanced middle class household. Ludwig Bsendorfer however was also trying another approach by building a new alliance with pianists and artists. He focused on the concert scene, and opened his own successful concert hall. He accompanied artists like Franz Liszt and Anton Rubinstein on their concert tours.

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W A X W O R K

B S E N D O R F E R The magazine by Bsendorfer Austria

Udo Jrgens Alter Ego

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or approximately four months, a team of artists worked on creating a double of the musician in order to make it as authentic as possible. Fixing the hair alone required 160 hours. All in all, it involved intricate work on the wax gure, which cost a total of 200,000 euros. Udo Jrgens alter ego is sitting at a Bsendorfer grand piano. Over the course of his career, the star has played Bsendorfer many times and one of his most treasured possessions is a Bsendorfer grand piano on which he composed many of his famous hits. Upon unveiling the wax gure, Arabella Kruschinski, Managing Director of Madame Tussauds Vienna, remarked, As a visitor, you can sit at the piano and have a photo taken at the piano with your idol. We extend our heartfelt thanks to the Bsendorfer company, who made this piano available to us.

The Austrian singer Udo Jrgens presented his wax double at Madame Tussauds Vienna in May 2013.
do Jrgens is the 72nd wax gure in the Madame Tussauds Vienna museum and is located in the music room next to other greats such as Falco, Christina Strmer, Michael Jackson and David Hasselhoff.
Madame Tussauds Vienna

he musicians suit, shirt and shoes are also original. The star appeared thrilled and was happy to be immortalised in wax. However, at his visit to Bsendorfer Downtown Showroom, he also stated: Its so frighteningly similar to me. From certain angles you cant really say who the real one is. That makes for a nightmarish feeling, how someone looks over at me and knows that the gure is not alive. This triggers very unique associations. But its of course an honour for me.

Udo Jrgens next to his wax double

Udo Jrgen Bockelmann

Born in Klagenfurt, Austria on September 30, 1934; studied at the Klagenfurt Conservatory starting in 1948; wrote his rst songs in 1949 and won rst prize out of 300 submissions at the Austrian Radio Composers Competition at age 16 with his song Je taime. His artist name Udo Jrgens came about in 1956; in 1957, he toured Russia for four weeks with the Max Greger Orchestra and in 1960 he composed the worldwide hit Reach for the Stars for Shirley Bassey; starting in 1961 he also became active as an lm actor. In 1966, on his third appearance on the show, he won the Grand Prix Eurovision de la Chanson with the song Merci Cherie in Luxembourg. Udo Jrgens has had major successes worldwide with many awards over many years. He sings for up to 75,000 listeners and his recordings reach audiences in the millions. His ode to the piano, Was ich Dir sagen will, sagt mein Klavier (My Piano Tells What I Want to Tell You) reached No. 1 in Japan, and major tours have also brought him to Japan on multiple occasions. In 1975, his hit Griechischer Wein (Greek Wine) became a sort of Greek folksong, for which he was honoured by the Greek government. Bing Crosby made this the title song to his last LP. In 1978, he recorded a song titled Buenos Dias Argentina for the Football (Soccer) World Championship in Argentina, with which he had the biggest success of his career. Sold-out tours with hundreds of thousands of listeners have led him throughout all of Europe, to Canada, Australia, Japan and South America. Performing together with international stars such as the Berlin Philharmonic, the Vienna Symphony, as well as receiving distinctions from the worlds of culture and politics, all bears witness to an incredible and long-lasting career. His latest successes are the outstanding lm The Man with the Bassoon and the musical Ive Never Been to New York. In 2013, Udo Jrgens was immortalised in Madame Tussauds wax gure museum in Vienna. In November of 2013, he received a Bambi award for his lifes work. His new CD will soon be released, and he will go on tour in 2014 as well. Udo Jrgens has sold over 100 million records. For more information, visit www.udojuergens.de

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COLLECTORS ITEMS

Beethoven Model B

eethoven was born in Bonn in 1770 and rst visited Vienna in 1787, originally planning to study under Mozart. He was obliged to return home almost immediately as his mother became ill. He returned in 1792, after the death of Mozart, and began studying with Joseph Haydn. Prior to his departure, his patron Ferdinand von Waldstein wrote to him Dear Beethoven! You are going to Vienna in fullment of your long-frustrated wishes. The Genius of Mozart is mourning and weeping over the death of her pupil. She has found a refuge but no occupation with the inexhaustible Haydn; through him she wishes to form a union with another. With the help of assiduous labour you shall receive Mozarts spirit from Haydns hands. Your true friend, Waldstein. Beethoven lived and worked in Vienna for the rest of his life (he died in 1827), helping it to further consolidate its position as the musical centre of Europe. He composed all of his immortal masterpieces there.

n keeping with this Moonlight theme, we have used moonlight colour mother of pearl for our Bsendorfer names and for a logo of Beethoven on the music desk. As an optional extra it is also possible to have a silver coloured frame and chrome plated metal work.

his model is limited to an individually numbered edition of thirty-two units, the number of Beethovens Piano Sonatas. Included with each instrument is a facsimile of the original Moonlight Sonata manuscript published by Beethoven-Haus Bonn. Also included is a boxed Hybrid SACD set of the complete recording of all the Piano Sonatas (32 plus the early Sonatas without opus numbers) by pianist Peter Takcs, hailed as a marvellous pianist by the New York Times, performed on a Bsendorfer Imperial grand. his unique instrument, destined to become a collectors item, is available in both 200 and 214 sizes.

gnaz Bsendorfer started his piano factory in 1828, the year following Beethovens death, and his ideas of sound were very much shaped by Viennas cultural environment that was profoundly inuenced by Beethoven. Many distinguished artists have chosen Bsendorfer pianos for their performance of Beethovens works. ur Beethoven model celebrates the great composer. In close cooperation with Beethoven-Haus Bonn, we have silkscreened onto the inside of the grand piano lid the opening measures of the Presto agitato from Beethovens Moonlight Sonata, Op. 27 No. 2, taken from the original autograph.

arquetry the use of many pieces of different types of wood veneer to create images and design has always been a very skilled and time consuming process, and was traditionally seen as a symbol of wealth. That is why you nd many ne examples in the Imperial palaces of Vienna; whilst many art case historical pianos have included marquetry designs.

Marquetry, music and the exotic O M

T
he Austrian Imperial Family was also delighted by exotic images of nature as can be seen at Schnbrunn Palace, their Viennese summer palace. The walls of its intimate music room are covered with wonderful jungle scenes, whilst there is also a complete suite of rooms with delightfully exotic garden panoramas commissioned by Empress Maria Theresa and hand painted by the celebrated 18th century Bohemian ornamentalist painter, Johann Wenzel Bergl. The sixyear-old Mozart performed in front of Empress Maria Theresa at Schnbrunn. Empress Elizabeth (Sissi) had her own suite there and would have enjoyed these murals.

ur hummingbird model pays tribute to this exotic world of empire and fantasy and is a contemporary reinterpretation of these traditional images of nature.

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THE BSENDORFER ORIGIN GUARANtEE

Every Bsendorfer grand piano is made by hand in Wiener Neustadt, Austria. All parts of a genuine Bsendorfer grand piano are European:

Modell 214

The cast-iron frame: The bass strings: The soundboard:

Mountain spruce from the Austrian Alps Handspun by Bsendorfer in Austria Hand moulded in Austria

Independent Capo dastro:

Unique, designed by Bsendorfer in Austria

The action:
Renner, Made in Germany to Bsendorfer specications

The bridge:
Handcrafted by Bsendorfer in Austria

Model 214

The resonating case:

Handcrafted by Bsendorfer in Austria

The keyboard:
Made in Germany to Bsendorfer specications

The inner rim:

Handcrafted by Bsendorfer in Austria

Open pin block:

Handcrafted by Bsendorfer in Austria

The tonewood:
Airdried, top Alpine quality

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