Special Models

8/14/2019 Special Models

http://slidepdf.com/reader/full/special-models 1/32

SPECIAL MODEL



When Ignaz Bösendorfer founded the Bösendorfer pianocompany in 1828, piano building was in a phase of strong

growth and development. Instrument manufacturerswere confronted with the constantly increasing demandsthat pianists made on their instruments. A uniqueatmosphere for the piano’s rapid development arose inVienna’s exceptionally creative musical environment.

Ludwig Bösendorfer’s collaboration with artists suchas Franz Liszt and Anton Rubinstein, who during theirlifetimes were closely connected to the Bösendorfercompany, was legendary.

Responding to the challenges of sound, playabilityand formal design were always primary concerns forBösendorfer as a piano manufacturer and remains so tothis day.

A piano manufacturer worthy of the name (Latinmanus—hand, and facere—making) can also give proof of its ability by building special models and one-of-a-kindinstruments. At Bösendorfer, instruments are made bygenuine craftspersons!

Personalized Production—

Out of Love for Design



69



70

The model EDGE was proclaimed winner o the rstinternational Bösendorer Piano Design Award in 2006

by Edelweiss Industrial Design. Part o their philosophy isturning products into an enduring positive experience orconsumers.

EDGE exhibits a number o distinctive eatures:

•Themusicdeskcanbepulledinveryclosetothepianist.

•Thefabric-coveredmusicstandpaddingelegantlyallows or pleasing transmission o the piano sound.

•Evenwhenthelidisclosed,dampenedsoundcanstill

beprojectedoutwardthankstotheincreasedspacing.Atthesametime,thelargerslotservesasawidegripthatmakesopeningthelideasy.

•Theelegantlyreisbothdurableanddiscreet.•Themodernpianolegsareperhapsmostremarkable;theyechothepiano’soriginsasa table instrument.

•Thematchingseatfeaturesanimprovedpneumatic spring action.

Elegance and modernity—

A great combination or a “grand” piano!

The Prizewier—Model EDGE

Cofigure your dream piao



71



72

Viennese musical history and the Bösendorer pianofactoryareinextricablylinked.Instrumentsmadeby

Bösendorfer,theimperialandroyalsupplierofpianos,wereownednotonlybyroyaltyandthenobility,butalsobythegreatmusiciansoftheirday,includingJohannStrauss II.

JohannStrauss’sformaltitlewas“courtballdirector,”buthewasmorepopularlyknownasthe“waltzking.”

WithStrauss’smusic,thepopularityoftheViennesewaltzspreadrapidly.Austriacametobeidentiedwiththismusic—andstillistoday.The“BlueDanube,”

forinstance,composedbyStraussin1867,isAustria’sunocial national anthem.

TheJohannStraussmodelproducedbyBösendorfertoday is inspired by the instrument on which the greatmasterwrotehiscompositions,whichisstillin the Strauss memorial rooms in Vienna.

With this instrument you are acquiring apiece o Viennese musical history.

The Dacig Model—Joha Strauss Model

Let’s waltz!



“To my esteemed friend, the most perfect tarot player,

the great Ludwig Bösendorfer, with pleasant memories.”

Johann StraussIschl, Austria, August 24, 1897



74

FranzSchubertdiedon19November1828attheageo 31 and was laid to rest in Vienna beside Ludwig

vanBeethoven,ashehadwished.Afewmonthsearlier,IgnazBösendorferhadreceivedhislicencetotakeoverhismaster’sworkshopandstartproducinginstruments under his own name. The time at which youngIgnazBösendorferwasrealisinghisdreamswasanexceptionally rich and sensitive one in terms o music. Italsocoincidedwiththeperiod1815to1848,whosestyleofpainting,literatureandfurniturehasbeenknownsincethe beginning o the 20th century as Biedermeier.

Schubert’sworksalwaysrevealedaneffervescentinventiveness coupled with an inexhaustible richness o melody and harmony.

Createdasahomagetothisgreatmusician,ourFranzSchubertmodelcombinesBiedermeier-periodandcontemporary style elements.

The Poetic Oe—Fraz Schubert Model

Iexhaustible richess



75

“The keys become singinunderneath the han

Franz Schubert



76

TheexceptionallymajesticcaseworkoftheBösendorferSenator model is created by using a combination o

twodifferentwoods.Theexternalrim,thelidandthe allboard are in polished pyramid mahogany withpear-woodinlays.Ourpyramidmahoganyissourcedrom controlled orest concession areas in West Aricawherematuremahoganytrunksarefelledinkeepingwith environmentally sound orestry practices. Roughpyramidsarecreatedfromsuitableforksinthewoodat the sawmill. Veneers made rom this wood areparticularly beautiul because o the unique smoothcutandthestriking,decorativepyramiddesignwhich

reectsthelight.Overtime,theinitiallightredtoreddish-browncolouringdarkenstothecharacteristicwarm mahogany tone with its golden shimmer.

Forcenturies,mahoganyhasbeenanelegantand expressive wood or ne period urniture.Thesuperbworkmanshipofthisnoblewoodby Bösendorer turns every instrument intoan individual masterpiece. The BösendorerSenator model is as individual as you are.

The Serious Oe—Seator Model

Poitig the way



77

Leonard Bernstein



78

AsIgnazBösendorferstartedhisownpianomanufacturingbusinessin1828,theyoungFranzLiszt,

withhisimpulsiveplayingtechnique,waswreckingnearlyevery piano made available to him. Upon the adviceofseveralfriends,hetrieddoingthistoaBösendorfergrand—whichwithstoodhisplaying!AtasinglestroketheBoesendorferbecamefamousasaconcertgrand,and this at a time when there was no shortage o pianomakers.AtthetimetheBösendorfercompanywasfounded,therewereover150pianobuildersactiveinVienna alone…

TheBösendorfermodelLisztcameaboutinhonorofthe

exceptionalpianistandcomposerFranzLiszt.

TheBösendorfermodelLisztisveneeredinVavona—apremium veneer which needs to be dried exceptionallyslowlyinordertoavoidcracksinthegrain,andwhichcanonly be handled with very sharp tools and thegreatestcare.DuringFranzLiszt’stime,playingmusic at home was extremely popular andsmall pianos o this scale could be ound inmany households.

The Ushakable—Fraz Liszt Model

Eobled by the master



“ You have already leaof the superb succesthe concert given byGeza Zichy. His playiwas wonderful, andBösendorfer grand ptoo. Humbly yours”

Franz Liszt

27 January 1879, Bud



80

The European transitional style between late BaroqueandClassicismiscalled“Louis-seize”afterLouisXVIof

France.Classicism’sreturntotheworldofantiquityledtoatastefornaturalisticforms,suchasbasketsofowers,willowboughs,garlandsoffruit,ribbons,swagsandclassical ornaments. Marie Antoinette hersel—wie o LouisXVI—issaidtohavesparkedofftherediscoveryofnaturalistic décor.

Rediscoveryandareturntothepast,thesearchformea-ning and lasting value and things that can be relied oninlife:theseareallrecurringthemestowhichthinkingpeoplehavecomebacktimeandagainthroughoutthe

ages.

Since1828,musiclovershaveknownthatthereisonething they can rely on: our determination tobuild the best pianos and grand pianos in theworld. The value o a Bösendorer lasts longerthan a lietime…

The Cotemplative Oe—Louis XVI Model

Of lastig value



Gabr



82

We call the European stylistic period in the 17 thand18th centuries,whosecreativeenergyextendedtoallof

Austria’sregionsandeldsofactivity,theBaroque.Fromthe seat o imperial representation all the way to peasantartsandcrafts,everywheretheBaroquemarked—andcontinuestomark—Austria’sartisticandculturallandscapelikenootherstyle.ThepinnaclesofEuropeanachievement arose rom mutual competition.

A typical characteristic o the Baroque era was the questto ascribe at least as much importance to orm as tocontent.It’seasytolovetheBösendorfermodelBaroque.AtBösendorfer,sincewedon’tneedtoconsiderassembly

linesandrobots,genuineartisansarestillengagedininstrumentmaking!

Thatisalsothereasonfortheattentiontodetail,beginning with the piano bench all the way tothe music stand.

Baroque is simply timelessly beautiul.

Opulece—Baroque Model

Timelessly beautiful

“Bö d f i b l f E i l



83

“Bösendorfer is a symbol of European musicalculture. Through these excellent instruments,

the remote voices of Haydn, Mozart, Beethovenand Schubert speak directly to us. To play their

music on a Bösendorfer concert grand piano is aspecial pleasure and a real privilege.”

András Schiff



84

“The piano is my second sel” declared Frédéric Chopin.Hecertainlyknewwhathewastalkingabout;almosthis

entire oeuvre was composed or the piano.Tomarkthe150thanniversaryofChopin’sdeath,wecreated an exclusive masterpiece using the superiortechnicalworkmanshipforwhichBösendorferpianosarerenowned. Many o the lovingly crated carvings wereinspired by pianos on which Chopin played during histourofEnglandandScotlandin1848.Thesebeautifuldetails refect the care lavished by English piano buildersonproducingtheirworksofart.Thenameboardofthispianohasahand-engravedplaqueingold-platedsolid

silver,whichfeaturesthecomposer’ssignature.

Thismodelisavailableinavarietyofsizes,veneersandnishes.OurChopinmodelisaninvestmentwithatruly unique character.

The Romatic Oe—Frédéric Chopi Model

My secod self



85

“The piano is my second self.”

Frédéric Chopin



86

Inclosecooperationwiththeworld-famousPorscheDesigncompany,wehavecreatedamasterpiece,a

contemporaryapproachtograndpianodesign.InkeepingwiththeBösendorfermotto—“cherishtraditions,transcend limits”—this new interpretation incorporatesground-breakingnewfeaturesthatwillhavealastingimpact on the development o grand piano design.While the body o the instrument has maintained itstraditionalcurvedform,athinner,lighterlidisinsertedfush into the piano rim. The lid is made o a lightweighthigh-techhoneycombmaterialallowingittobeopenedand closed by a gas spring mechanism. The hinged

ront portion o the lid has been replaced by the rontcrosscoverintowhichafold-outmusicdeskhasbeeninserted. The sound volume can be adjusted throughvariable opening o two aluminum sliders placed oneithersideofthemusicdesk.Themusicshelfisalso made o aluminum.

Thesimpleshapeofthelyre,whichresemblesafourthleg,isofequallysereneelegance,combining orm and unction in a masterlyashion. Aesthetics and sound in step with their

times. Welcome to the 21st

century.

A Desig Item—Desig by F. A. Porsche

Welcome to the 21st cetury



88

Vienna and music are inseparable. Vienna is inextricablylinkedwithLudwigvanBeethoven,WolfgangAmadeus

Mozart,JosephHaydn,FranzSchubertandArnoldSchoenberg,tonamebutafew.World-famousiconssuchastheViennesewaltz,theViennaBoys’ChoirandtheViennaPhilharmonicepitomiseVienna’simageasthemusic capital o the world.

ViennaisalsothecitywhereIgnazBösendorferfoundedhiscompanyon25July1828aftercompletinghis apprenticeship as a piano builder. The companyhasalwayskeptonethingclosetoitsheart:thedetermination to build the best grand pianos in the

world.

We view the Bösendorer Vienna model as a homagetothecitywhichlovesandlivesmusiclikenoothercityintheworld.Withitsnecarvedandinlayworkinthenoblestmaterials,amboynawoodveneerand 19th-century-inspiredstylisticfeatures,this grand piano combines the very roots o musicality with 21st-centurytechnicalandcratsman expertise.

The Traditioal Oe—Viea Model

Homage to the music capital of the world



89

“ There are pianos,and then there is Bösendorfer.

Joe Zawinul

Joe Zawinul



90

TheBösendorferArtisanmodel,astunningdisplayofnehandinlaytechniques,isabeautifulworkofarteven

beore a single note has been played.AslongagoasthesecondmillenniumBC,inlaidworkfeaturinggeometricandgurativedesignswasproducedintheOrientasfacingforveryspecialobjects.ThedesignhallmarkoftheArtisanisitsdiscreetoralornamentationworked—byhand,ofcourse—withavarietyofexcellentwoodssuchaswalnut,maple,pear-wood,cherry-wood,mahogany,arubaandburramboyna.

Foraslongasanyonecanremember,creativemindsinallwalksoflifehavegrappledwithart’sgreatmysteryandthequestionofwhatmakesartart?

The Bösendorer Artisan model could—by itsvery name—symbolise the quest or the greatmystery o art.

The Artistic Oe—Artisa Model

Art’s great mystery



91

“Bösethe sho from a

to the hea

Andrea



92

Aythig is possible—the world of fiishesIn principle any veneer can be used. The ollowing consi-derations are important in connection with veneers:

1. Veneer pattern

2. Horizontal/vertical grainThedirectionoftheveneergraincanvary.Generally,ve-neerswithlengthwisegrains,suchasAruba,areappliedvertically.However,itisalsopossibletousetheveneerhorizontally.

3. Veneer treatmentTheveneer’streatmentrelatestothecolor.Everyveneercanbetreateddifferently.Therefore,it’sespeciallyim-

portant or the customer to provide the dealer with a

color sample in order to ensure that the color precisely matBösendorer also oers the possibility o producing two to

sample boards so that the customer can decide which venetreatment he or she desires.

Below are several examples o commonly used veneers.Thereareofcourseotherpossibilitiesaswell,suchasArubintarsiaworkcomposedofvariousveneers.ThiscanbeseetheChryslermodelonthefollowingdouble-pagespreads.

Rosewood Burr walnut



93

Bubinga

Amboyna

Walnut

Mahogany

Bird’s eye maple

Pommele



94

“To my beloved pianocompany with best wishes

for the future. In long-standing solidarity”

Dr. Rainer Keuschnig

Pianist for theVienna Philharmonic



96

1 Toachievethehighestsoundquality,weusenaturallydriedwoodsexclusively.Nootherpianocontainseven

remotely so high a proportion o Austrian spruce.

2 Nootherpianoisequippedwithaindependentcapod’astrobarinthetreble.Thisenablespreciseadjustment and guarantees that the original soundo your personally selected Bösendorer will last orgenerations.

3 The individual stringing ensures that the piano holds itstuning or the longest possible time.

4 The Bösendorer resonance case principle treats theentire instrument as a resonating body and therebyachievesBösendorfer’suniquerichnessoftonecolorand its typical singing timbre.

Distiguishig Featuresa BöSEnDORFER is special

1

3



L. Bösendorfer Klavierfabrik GmbHBösendorferstraße 12 · A 1010 Vienna · Austria

Telephone +43 / 1 / 504 66 51-0

Fax +43 / 1 / 504 66 [email protected]

Special Models

Documents

Transcript of Special Models