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Oscar Peterson in the Golden Hall of Vienna’s Musikverein in November 2003, on the occasion of Bösendorfer’s 175th anniversary
– his last performance in Austria.
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E D I T O R I A L
Editorial
Dear readers!
Contents
In Memoriam: Oscar Emmanuel Peterson .................................. 2 Yoshichika Sakai – Lover of the Viennese Sound
Editorial · Imprint ................................................................................... 3 Becomes New Bösendorfer CEO ..................................................... 11
Interview: Kristin Okerlund The 180th Anniversary Grand Piano Limited Edition .............. 12
The Multifaceted Art of the Répétiteur ........................................ 4 Collaborative Concerts ........................................................................ 13
A Movie Star Piano ................................................................................. 6 The Touching Sound – Part 1
The “Crash Piano” – the Two Moors Story .................................... 7 The Resonance Case Principle ......................................................... 14
Exclusive Bösendorfer Factory Concert with Soundscape Experts ............................................................................ 16
Jancy Körössy and Ramona Horvath .............................................. 8 CEUS – “On-the-Job Training” .......................................................... 18
Wooed and Won Bösendorfer Audio and Music in the
Tobias Moretti Fulfills a Dream ........................................................ 9 Grand Hotel Vienna ............................................................................. 19
Inaugurated with Schubertian Melodies – HIGH END Show, Munich 2008 ...................................................... 19
180 Years of Bösendorfer ................................................................... 10 Contact .................................................................................................... 20
Imprint · Editor, media proprietor, publisher: L. Bösendorfer Klavierfabrik GmbH, Graf Starhemberg-Gasse 14, A-1040 Vienna, Austria, Tel. +43 (1) 504 66 51-0 · Design and layout: FineStudios®,
Vienna. Produced and printed in Austria. Distribution: self-distribution to Bösendorfer friends and interested parties. Editorial office address: L. Bösendorfer Klavierfabrik GmbH, Attn.: Simon
Oss, Graf Starhemberg-Gasse 14, A-1040 Vienna. Senior editors: Agnes Domfeh, Simon Oss. Authors: Mario Aiwasian, Dieter Autengruber, Ferdinand Bräu, Agnes Domfeh, Manfred Häfele,
Dr. Rupert Löschnauer, Dr. Michael Nießen, Simon Oss, Mag. Stefan Radschiner. Photos: Mario Aiwasian, John Borge, David A. Czihak, Agnes Domfeh, Herbert Druml, FineStudios®, Monika
Frank, Grand Hotel Wien, Harri Mannsberger, David M. Peters, Mag. Stefan Radschiner, G. Ringhofer, Christian Schoppe. Translation: Albert Frantz. Primary direction and disclosure according
to media law: Magazine for persons interested in music and friends of Bösendorfer 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
author’s opinion, not always that of the publisher. No legal action will be countenanced for sweepstakes.
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
I n t e r v i e w
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Photo: Herbert Druml
Kristin Okerlund at the 2006 Heiligenkreuz Festival with clarinetist Roger Salander.
Simon Oss: Having worked intensely with singers in such a dom. If you look at two different piano reductions, they can be
manner, do you sing personally or expect your students to totally different, because somebody took the orchestral score
sing? and compressed it so that a pianist can play it. And he took out
Kristin Okerlund: [laughing]: I drive my students crazy. I’ll never the things he considered important, while someone else con-
forget my first job at the Vienna Kammeroper. I was répétiteur siders something else important. Therefore, I tell my students
for Werner Henze’s “English Cat,” and it was incredibly difficult that whenever something is too difficult to play, they can sim-
to play – I practiced for months so that I could really play it well. plify it, or, by contrast, they can add octaves if it requires more
The first coaching was with Helmut Wildhaber. He came in orchestral support.
and I started to play. It was a place in which the soprano sings.
I simply kept playing and concentrating and he didn’t enter. So Simon Oss: Do you therefore adjust the playing to the singer?
I said, “You need to sing!” and he replied, “How am I supposed Kristin Okerlund: You do need to support a bit or give less. It
to enter when I don’t hear the soprano?” And I said, “Yeah, but always depends on the singer and the piece. But when some-
she’s not here now!” – “No, you need to sing!” – “Why? I’m a body comes to me and wants to sing Wagner with a tiny little
pianist – I don’t need to!” He actually showed me how impor- bird voice, then I refuse to just sit there like a bird and play
tant it is, as no one had ever told me that before. So I needed to softly, since afterwards the orchestra also won’t do that.
make up for it very quickly. And now I require all my students to
sing always. They don’t like it, but it simply has to happen. Simon Oss: As a répétiteur, do you also have special demands
Today I had a rehearsal, the singer had about ten words and on your piano?
I needed to sing everything else, the Leonora aria, the duet ... Kristin Okerlund: I find it important to have a great instru-
but it has to happen, it’s incredibly important. ment. If the nuances are there in terms of sound, that results
in another quality and a different sort of support for the sin-
Simon Oss: Are there also special pianistic demands? gers. You could ask any singer whether they’d rather sing with
Kristin Okerlund: You somehow need to be educated all-round. the Vienna Philharmonic or with any old average orchestra.
First, you need to study solo piano in order to attain the neces- They would all say the Vienna Philharmonic since they’d then
sary technical proficiency. And when an orchestra for examp- sing better when they have this support and this quality of
le requires a piano, organ or celeste, then the répétiteur also sound. It’s no different with the piano.
plays them. Personally, I’m a Bösendorfer fan. The Bösendorfer is now very
Then you need to be able to sight-read. I see that in my stu- clear in the treble and nonetheless has a round sound in the
dents – if you can’t do it naturally then it’s incredibly difficult. bass. I think I had only played a Bösendorfer once in my life
The singers call me up and say they’d like to work. Then they before coming to Vienna, Brahms’s Handel Variations at a
come, set the score down and expect the pianist to be able competition. And you know, that was it! There are tones that
to play. And that has to happen, in fact. Sometimes you need you only have on a Bösendorfer. It was so much fun. That’s also
to be able to transpose on the spot and sometimes even play the case for me in the opera – you can imitate the orchestra’s
from an orchestral score. sound and give more support. I think it’s great!
In terms of sound, we répétiteurs always try to sound like an
orchestra, whereby the playing is associated with lots of free-
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
N EW S & T I P S
A joyful event
T he prop master’s one last hasty tour through the old fac-
tory warehouse with our service manager then led to a
joyful event: Agnes Domfeh, together with Rolando Villazón, is happy about
Under a heavy cover stood the old Ignaz Bösendorfer grand, the newly surfaced Ignaz Bösendorfer grand.
which exhibited the desired turned legs.
The big surprise was that this was one of those incredibly monious entry for this “Grand Dame” from Bösendorfer.
rarely encountered Ignaz Bösendorfer grand pianos from the
late Biedermeyer period. Worldwide, barely a dozen of this Agnes Domfeh
model survive today.
The beautifully preserved piano fits stylistically into both LA BOHÈME is a film production by MR Film, in co-production
epochs relevant to the film project: the Biedermeier on the with Unitel (Germany), produced with the support of ÖFI (Aus-
one hand as Bohème’s historical “real-time,” and the Bel- trian Film Institute), FFW (Film Funds Vienna), ORF Film-/Fern-
le Époque as the cinematic “real-time” for this production sehabkommen (Austrian Broadcasting Service Film/Television
(1902, to be precise), for already at the time it was considered Accord).
something special to be able to call an instrument from the
Biedermeier period one’s own (Landlord’s Salon).
It would have been difficult to find a more worthy and har-
Recommendation:
The exquisite cast of La Bohème as well as Robert Dorn-
helm as stage director and Walter Kindler behind the
camera make the film a genuine event!
Anna Netrebko Mimi
Rolando Villazón Rodolfo
Nicole Cabell Musetta
George von Bergen Marcello
Adrian Eröd Schaunard
Vitalij Kowaljow Colline
et al.
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TWO MOORS STORY
Stefan Radschiner
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
C o n c e r t s
S everal weeks later, the pianist and his artistic partner, fel-
low pianist Ramona Horvath, completed a tour through
our factory in Wiener Neustadt on the occasion of Jancy’s
personal anniversary concert in Bösendorfer Hall – and they
were thrilled. Thrilled by the dedication, the precision and the
conscientiousness with which the factory’s employees build
their instruments. The employees’ passion for their work,
so clearly palpable to the two artists, as well as the the in-
imitable sound of the instruments produced there, allowed
Jancy Körössy to make the following spontaneous suggesti-
on right then and there: “I wish to express my gratitude to
all the wonderful people in the Bösendorfer factory with an
exclusive concert.” The idea was received joyfully by the plant
management and thus, on November 27, 2007, the very first Jancy Körössy, together with his artistic partner Ramona Hor-
factory concert, dedicated to Bösendorfer employees, in the vath, wowed the employees of the Bösendorfer factory in Wie-
history of the company took place. ner Neustadt.
Horvath and Körössy, full of emotion and in the best of spirits,
presented their concert full of verve to the personnel. Tech- Jazz veteran Jancy Körössy and the young pianist Ramo-
nical brilliance, the highest degree of musicality as well as na Horvath, a bridge between generations
empathetically harmonious playing in succession and the
subsequent immersion into the nearly dance-like dialog with
their respective pianos wowed the employees.
J ancy Körössy (born in Cluj, Romania in 1926) is con-
sidered a “giant of jazz” among music critics, one of
the world’s most interesting jazz musicians. He ranks
among the pioneers who invented Romanian jazz in the
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© Lionel Flusin
K U N D E N
Tobias Moretti encountered “his” Bösendorfer grand at the Theater an der Wien. While working on Der Seelen wunderliches Berg-
werk he fell in love with the instrument “at the spur of the moment” ...
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
Anniversary
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P o r t r a i t
The beginnings
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
Anniversary GRAND
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TASTEN.LAUF
Collaborative Concerts
Since last season, the Bösendorfer piano company has undertaken a highly successful colla-
boration with the Gesellschaft der Musikfreunde (Society of the Friends of Music) in Vienna
and its general manager Dr. Thomas Angyan.
In collaboration with the Musikverein, Bösendorfer presents After the concerts, friends of the Bösendorfer company have
young pianists from the world over in four evenings spread out the opportunity to meet and speak with the artists perso-
over the current season. nally at our Bösendorfer Downtown location.
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
F A C T O R Y
The extended arm of the soundboard shed instrument to a great extent. These convenient proper-
Resonating spruce
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Especially careful drying of the wood in two phases rings can be achieved with this elaborate method.
Ferdinand Bräu
and marked on-site by our purchasing and wood processing Technical Director
specialists. The raw wood is then delivered as lumber during
the first months of the year. Before it can be used for ma-
king pianos, however, the lumbers first have to lie in the open
air. Having arrived at the wood storage yard, the planks, with
thicknesses varying between 20 and 80 mm, are stacked
with the aid of commensurate shims, such that optimal air
circulation is obtained for preserving and even conditioning.
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
S E R V I C E
Soundscape Experts
Bösendorfer’s Concert Technicians – Our Service Department
A mong the essential work is the adjustment and regulation of the action. Hundreds of individual parts of an action fall into
place to create a harmonic whole. The work requires considerable feeling (for key depth) and a good eye (beating, release
[Abfallen] and nutation [Abnicken]) to adjust these parts perfectly on top of one another. After all, the action is the gateway
between the pianist’s hand and sound production by the hammer striking the string. Thus, when a pianist touches the keys
and presses them, he or she feels the entire ideal combination of gravitation, inertia and inner muscular resilience. This is one
reason for dedicating a maximum of attention and precision to the mechanical concept and its regulation.
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Attaching the dampers
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
C E U S
Mario Aiwasian
Product Manager, CEUS & CEUSmaster
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AUDIO DIVISION
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
C o n t a c t