Brochure

Transcription

Brochure

BSD_cover produktkatalog e 23.05.2005 8:45 Uhr Seite 1
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L. Bösendorfer Klavierfabrik GmbH
Bösendorferstraße 12 · A 1010 Vienna · Austria
Graf Starhemberg-Gasse 14 · A 1040 Vienna · Austria
Telephone +43/1 / 504 66 51-0
Fax +43/1 / 504 66 51-39
[email protected]
www.bosendorfer.com
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BSD_produktkatalog e 23.05.2005 8:44 Uhr Seite 1
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T he Bösendo rfe r o f g rand pIano s
It is quite the fashion nowadays for piano
manufacturers to fall back on “car industry speak”
to help them to describe their products.
Bösendorfer is often described as the Rolls Royce
of grand pianos, but the comparison is somewhat
misleading. For one thing, our instruments are
painstakingly crafted by hand, not produced on an assembly line
by robots; for another thing, unlike a car, a grand piano is an
acquisition that will keep its value for generations.
of resonant spruce wood in their construction as our
Bösendorfer instruments.
Design innovations such as the new Design by F. A. Porsche
grand piano by the legendary Porsche designers in Zell
am See in Austria ensure that, in addition to its outstanding
quality, a Bösendorfer grand piano is one thing above all
others: desirable.
Bösendorfer grand pianos set the global standard, hence
the phrase “the Bösendorfer of grand pianos”.
When our high-quality skilled workmanship – which starts when
we select only the best, sound-promoting materials – is compared
with the car industry, it is clear that the purchase of a grand piano
represents unbelievably good value in every respect.
Each Bösendorfer grand piano is the product of not only over a
whole year's work but also expertise passed down from generation
to generation since the company was founded in 1828. Over the
last 175 years, we have always continued to develop, because we
enjoy being in tune with the times.
Our customer-focused research and development department is
constantly working to exploit the potential of the materials we
use. No other grand pianos, for example, use as high a percentage
Manfred Aichinger,
Managing Director
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The History
FaT her and So n
Ignaz Bösendorfer was born in 1794, the son of Vienna
master cabinetmaker Jakob Bösendorfer and his wife
Martha. At the age of 19, young Ignaz began an apprenticeship with Josef Brodmann, an organ and piano builder
in Vienna. A good master had found an outstanding pupil.
Ignaz Bösendorfer
Vienna, 1828: Franz Schubert was buried one year after
Beethoven and laid to rest beside him. Before them, this
city on the Danube had been home to Mozart and Haydn.
It was in 1828 that Ignaz Bösendorfer applied for a trade
licence to set up his own piano manufacturing company.
He took over his teacher Brodmann’s business and began
producing instruments of his own.
Around that same time, young Franz Liszt was shattering
almost every piano at his disposal with his impulsive
playing technique. Friends suggested he might like to try
a Bösendorfer, which stood up to his playing. Almost
Plaque on the name
board of a grand
piano by Ignaz Bösendorfer
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Franz Liszt playing for Emperor Franz Joseph
and Empress Elisabeth in the Redoute of Buda.
Replica by Franz Schmaus and Karl Lafitte
overnight, the Bösendorfer concert grand shot to fame. In 1830
the title of “Imperial and Royal Court and Chamber Piano Manufacturer” was conferred on Ignaz Bösendorfer by the Austrian Emperor. Numerous gold medals and first prizes followed.
With demand for his pianos growing, Ignaz began to think about
founding a new factory, but sadly he did not live to see this realised.
He died in 1859. The company was taken over by his son Ludwig,
born in 1835.
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Piano transportation in Ludwig Bösendorfer’s days.
Ludwig, now aged 24, had been entrusted with the secret of the
Bösendorfer grand piano by his far-sighted father. Ludwig, a highly
talented musician with an exceptionally good ear, made such
improvements to the instruments that the name Bösendorfer
became synonymous with a deeply moving sound and the very
idea of music itself. In 1860 the business moved to a new factory
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in Neu-Wien, Vienna, which
included a concert hall with
capacity for 200 people.
Before long, this factory
also became too small, so
the company moved again
in 1870, this time to its present office buildings at
Graf-Starhemberg-Gasse
14, in the 4th district of
Vienna. In 1870 the offices
and showroom were transferred to the city centre, to
the Liechtenstein Palace in
Herrengasse. The Prince of
Liechtenstein’s riding
school there proved to have remarkable acoustics, and
Ludwig Bösendorfer managed to persuade the prince to
convert his riding school into a concert hall. With refurbishments complete, Hans von Bülow gave the inaugural
recital in the hall in 1872. The new Bösendorfer Hall’s
outstanding acoustics meant it became Vienna’s most
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Ludwig Bösendorfer
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frequented chamber music concert hall during more than forty
years. Over 4,500 concerts took place, including performances by
Anton Rubinstein, Franz Liszt, Eugen d’Albert, Johannes Brahms,
Ernst von Dohnány, Max Reger, Arthur Rubinstein, Béla Bartók,
Edvard Grieg, Gustav Mahler and Richard Strauss. As the 19th
century drew to a close, Bösendorfer grand pianos were built for
Austria’s imperial court, for Empress Elisabeth, Empress Eugenie
of France, the Emperor of Japan, the Tsar of Russia and other
prominent individuals.
Having no descendants, Ludwig Bösendorfer sold the business to
his friend Carl Hutterstrasser in 1909. In 1913 it became necessary
for the Bösendorfer Hall to make way for an urban building project.
The company moved to new premises in the Musikverein building.
Ludwig Bösendorfer died in 1919. Carl Hutterstrasser’s sons Alexander and Wolfgang became partners in the company in 1931.
Arnold F. Habig, President of Kimball International Inc., USA, became
Bösendorfer’s new owner in 1966. The Habig Foyer at Bösendorfer
headquarters in Vienna is named after him.
Workers in a packing
crate for the Imperial
model
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Honouring a
tradition: the
Bösendorfer Hall in
Graf-Starhemberg
Gasse, Vienna
BAWAG’s head office,
magnificently
renovated, in Vienna
Since 2002 this prestigious company has been in the ownership
of banking group BAWAG P.S.K. Today around 450 instruments are
built every year at the Bösendorfer factory in Wiener Neustadt,
90 per cent of which are exported. The recently opened Bösendorfer
Hall at company headquarters in Vienna’s 4th district is an attractive concert venue. It was the choice for Lionel Richie’s exclusive
promotion of his new album “Just For You”.
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Crafted by hand
VIsIo narIe s b uIL d b eT Te r
From the outset, we always have our ultimate aim in our
minds: to build the Bösendorfer that you want.
Our vision of the perfect instrument is already formulated
when we select the wood for our grand pianos. For Bösendorfer grand pianos we use spruce, beech and maple
primarily. The wood is seasoned outdoors for up to five
years, depending on the type of wood and the plank size,
and then seasoned for a further 12 to 15 weeks in the
drying room. It takes over a full year to produce a grand
piano, during which time the wood is cut, planed, joined,
glued, milled and sanded. The work also involves casting
heavy iron frames, which are seasoned for six months
outdoors to eliminate tension. The best resonant wood is
sourced from around the world and glued to produce
sound-boards …
During construction of the sub-frame and the case, the
outer rim, the sub-frame and the sound-board are viewed
as a cohesive sound unit. We call this the “resonating box
principle”, a feature that is unique to Bösendorfer. The
advantage lies in the way the sub-frame and the outer
rim increase the sonorous potential of the sound-board,
which has positive implications for the tone colour of the
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instrument.When it is finished, each grand piano systematically
receives a unique opus number and is entered into our factory
logbook. However, every Bösendorfer grand piano is also given a
works serial number right at the start of its construction. From
that moment, we ensure individual consistency between all the
components relating to that serial number. This is going to be an
instrument with a soul, after all, not something which has been
mass-produced.
The sub-frame, which together with the cast-iron frame has the
task of counteracting the enormous pulling power of the strings,
is fastened to and positions the sound-board, forming the backbone of the grand piano. For the sub-frame too we use the best
sound-spruce, in keeping with our “resonating box principle”.
Once the sound-board has received its ribs, the wrest-plank is
ready and the frame installed, the grand piano is strung. After this
we install the action, the hammerheads and the dampers which
are all made to Bösendorfer specifications. The casing components
are then assembled and the surface finish applied. The final stage
is for the mechanism to be regulated and the grand piano to be
tuned and voiced.
We always allow plenty of time for the voicing of a Bösendorfer,
in order for it to achieve its full, touching sound.
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The rib bars, produced from highest-quality
spruce, require special attention.
Surface finishing the cast-iron frame by
priming, filing, bronzing and varnishing.
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The wood is prepared in short runs in advance.
During construction of the sub-frame and
the case, the outer rim, the sub-frame and
the sound-board are viewed as a cohesive
sound unit. The “resonating box principle” is
exclusive to Bösendorfer grand pianos.
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The fit of the jointed and glued wooden
components of the sub-frame is tested with
the template to ensure maximum accuracy.
This is the only way to produce a solid, robust
frame for the grand piano.
The sub-frame components, the key-bed and
the beams that connect the sub-frame and
the cross-block are made of solid spruce and
beech, carefully jointed and glued together.
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A groove is cut into the sound-board brace at
one of the sub-frame components. This
groove allows the necessary flexibility for the
optimal vibration of the sound-board.
Every Bösendorfer grand piano is given a
works serial number right at the start of
its construction. From that moment, we
ensure individual consistency between all
the components relating to that serial
number.
The outer contour of the sub-frame is milled
on a milling table.
The outer rim is designed to vibrate as part
of the resonator box.
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The hallmarks
A B ösendo rfe r Is spe cIaL
L. Bösendorfer Klavierfabrik GmbH is a magnet. Whenever
pianists are performing in Vienna, they come and visit us.
Even when singers like José Carreras and Dianne Reeves
are in Vienna, they stop by and look in. This intimate
relationship with the music world is the fabric from which
the Bösendorfer company is made.
Our staff are also part of the Bösendorfer fabric. Absorbed
by enthusiasm for the product and capable of supreme
craftsmanship, they create – using the best available
materials – our grand pianos with their distinctive rich
sound.
But it is not only our dovetailed philosophy and
manufacturing processes and our dedication to quality
that make a Bösendorfer grand piano special. A
Bösendorfer is different.
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Hallmarks of Bösendorfer grand pianos:
• they are built by hand in Vienna, the music capital of the world
• they are built using the highest possible proportion of soundspruce
• they have a screwed-on capo d’astro bar in the treble
• they have single stringing
• Bösendorfer’s “resonating box principle”, which views the whole
instrument as a cohesive sound unit, produces our uniquely rich
tone colour and characteristic singing timbre
• the open wrest-plank ensures excellent tunability and tuning
stability due to the optimum fit of the tuning pins in the wrestplank
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Cutting notches into the bridge is delicate
work requiring years of experience and is
carried out by hand at Bösendorfer.
Measurements are taken to compare the
string pressure bearing down on the front
and back of the bridge.
Needling the hammerheads changes the
hardness and tension of specific parts of the
felt on the hammerhead and achieves desired
variations in the sound of the piano.
The strike position of the hammerheads is
set separately for each instrument. Here the
hammerheads are being glued.
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The cast-iron frame is inserted before the
frame is assembled.
For tuning stability, Bösendorfer uses its own
design of machine for “playing in” the action.
The process involves compressing the felt and
leather parts for the first time.
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The agraffe is precisely positioned and aligned
to form an exact right angle with the string.
The agraffe defines the forward termination
point of the string’s speaking length.
Bösendorfer uses an exclusive method of
bass string production. The wire core is
wound in the opposite direction with flatrolled copper wire.
Marking the boring in weighting the keys. In
order to regulate the touch weight, each key
is weighed down with the correct weight.
With use of modern CAD programmes
always at the forefront of developments.
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A magical beginning
SmaLL Is re L aT Ive
Beauty of sound cannot be measured in centimetres.
Our 170 model, the smallest of Bösendorfer's grand pianos,
is specially designed for smaller living spaces – which
means you can even enjoy the inimitably rich sound of a
Bösendorfer at home. But what does small mean?
Our 170 model weighs 314 kilograms and has dimensions
of 146 x 170 centimetres. A formidable presence.
This piano is built by hand using the highest-quality
materials. The sound quality in the bass, in particular, and
the range of tonal colours are exceptional for a piano of
this size. Its action allows the fastest of repetitions and it
has a very precise playing feel.
Our 170 model is traditionally finished in highly polished
black but can also be finished in a variety of veneers
including bird's eye maple, burr walnut,
amboyna, rosewood, pyramid mahogany,
pommele or any other desired finish.
And the most beautiful thing of all:
it is “a Bösendorfer of grand pianos”.
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ModeL 170
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Tori Amos
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The baby grand
A b o rn co smo p o LITan
Our 185 model brings worlds together: The world of the
home and the world of public performance. It creates a
bridge between private space and public space. Why?
Because it can; it is, quite simply, capable of creating this
link – in terms of both construction and performance. Its
dynamic features make it ideal for more intimate performances in front of a small audience, whilst its sonorous
sound is the unmistakable hallmark of a member of the
great house of Bösendorfer. That same expertise has gone
into its development; the same expert hands that create
the full concert grands have brought it to life.
Its responsive touch and unique tonal character mean
you will experience some exquisite musical moments in
the company of your friends.
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ModeL 185
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»And the Bösendorfer is the ideal partner
for my Stradivari.«
Anne Sophie Mutter
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Anne Sophie Mutter
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The classic
L earn To L o ve
Music schools love it. Conservatories love it.
And who knows? Maybe you will learn to love it too.
Our 200 model has been enormously popular for more
than fifty years. By creating it, Bösendorfer has produced
a piano that clearly longs for its tonal and dynamic
affinities to come under scrutiny alongside those of its
“big brothers”, which is why it is so often the choice of
professional teachers at conservatories and music schools.
But its compact size means it is equally at home in a
private space.
In playing terms, it has the famous, rich, moving Bösendorfer sound and everything else that makes a genuine
Bösendorfer what it is: playability, superior quality workmanship and mechanical design in terms of repetition
and stability, optimal use of materials to create the best
sound possible and lasting value.
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ModeL 200
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»Performing with Bösendorfer is always a
great pleasure. Huge dramatic sound, different and deepest colours and melodious
sound make the difference. I am very glad
to have performed with Bösendorfer often.
I hope this will last.«
Fazil Say
Fazil Say
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The Salon grand
Ide aL sIze and so und
Our salon grand model 214 is happiest demonstrating its
concert capabilities at performances in medium-sized
concert halls.
This is where its strengths can come to the fore:
optimal sound transparency, sheer delight in playing, precision of touch, unsurpassed fullness of sound, dynamic
control and a sustained tonal character that will be warmly
applauded.
Salon grands rose in popularity at the start of the Biedermeier period (the style in painting, literature and furniture
from around 1815 to 1848). During that era, an important
role was played in Viennese musical life by elegantly furnished salons where the foremost composers of their day
would present their works. During the 19th century, salons
developed into exclusive gathering places for Austria’s
aristocratic and bourgeois society.
Our 214 model is, naturally, also eminently
suitable for private spaces.
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ModeL 214
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»Singing with a Bösendorfer
is like singing
with an orchestra.
I prefer the full
and colourful tone
of the Bösendorfer
to all other grand pianos.«
Dianne Reeves
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The half concert grand
InImIT ab L e So u nd
Our grand piano 225 model is built for the stage.
Its inimitable sound derives from a combination of experience, skilled craftsmanship, technological expertise,
musicality and benefits for the customer. After all, we only
build what is of service to you.
Anyone who has ever encountered its expressive diversity
and inimitably rich, moving sound has experienced something very special indeed. Playing this instrument is an
uplifting feeling; experiencing its musical spectrum is
equally so.
Its size and construction allow this piano to produce a
rich palette of sound colours, from the softest pianissimo
to the loudest fortissimo. Four additional sub-bass keys
also extend the bass range to bottom F.
No wonder that, as well as being a popular choice
for concert performances, our 225 model is also
very highly thought of as an instrument for
private use.
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ModeL 225
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Plácido Domingo
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The giant of the stage
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ModeL 280
He arT , whaT mo re co uL d Yo u d esIre ?
Our constant contact with the world’s greatest pianists
and most eminent conductors enabled us to draw up a
detailed “wish list” for the concert grand model 280.
We have now made this profile a reality through a combination of many new technical developments and special
respect for our great musical heritage.
The Bösendorfer principle of construction views the entire
instrument as a cohesive whole. This is what allows us to
achieve our uniquely rich sound colours and characteristic
singing timbre, of which our concert grand model 280 is
living proof.
A new model created for the 21st century, the
concert grand is multitalented. It can hold its
own against the forces of a large orchestra yet
has all the sensitivity required for an
accompanying role in a chamber music setting.
In the bass it has a clarity and fundamental tone
that no instrument has achieved ever before.
Tradition and innovation in association with the
best pianists in the world: the stage is yours!
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»I perceive a Bösendorfer to be much more than merely a fine piano, but rather the
ideal personification of Viennese musical culture. It is no coincidence that precisely this
piano evolved in the city of Vienna, which has exerted an irresistible attraction to
musical heroes from time immemorial, even to this very day.«
Wilhelm Backhaus
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»Ich sehe im Bösendorfer aber viel mehr als schlechthin ein prachtvolles Klavier, sondern
für mich stellt es geradezu eine Verkörperung von wienerischer Musikkultur dar. Es ist
kein Zufall, dass gerade dieses Klavier in dieser Stadt geboren wurde, welche auf die
Heroen der Musik von je her eine so unwiderstehliche Anziehungskraft ausgeübt hat.«
Wilhelm Backhaus
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»…der beste Konzertflügel, den ich jemals spielte.«
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…the best concert grand piano I have ever played.
André Previn
»Bösendorfer ist eines der Symbole europäischer Musikkultur.
Durch diese exzellenten Instrumente sprechen die fernen
Stimmen von Haydn, Mozart, Beethoven und Schubert direkt
zu uns. Ihre Musik auf einem Bösendorfer Konzertflügel zu
spielen, ist eine besondere Freude und ein wirkliches Privileg.«
Bösendorfer is a symbol of European musical culture. Through
these excellent instruments, the remote voices of Haydn,
Mozart, Beethoven and Schubert speak directly to us. To play
their music on a Bösendorfer concert grand piano is a special
pleasure and a real privilege.
András Schiff
»Ich habe Bösendorfer Flügel immer bewundert und spiele
sie seit 35 Jahren in Konzerten. Ich genieße den klaren,
kräftigen Klang, den unvergleichlichen Bass und die wunderbare Anschlagskultur.
Ich freue mich, den Konzertflügel 280 in den großen Konzertsälen der Welt zu spielen.«
I have always admired Bösendorfer grand pianos and have
been playing on them for the past 35 years at concerts. I enjoy
the clear, strong sound, the unmistakable bass and the
wonderful touch of the keys. I am very happy to play the
concert grand piano model 280 in the largest concert halls
in the world.
Garrick Ohlsson
»Gratulation!
Das neue Modell 280 besitzt weiterhin die traditionellen
Qualitäten von Bösendorfer, wie den singenden Klang, und
er verfügt über eine überaus reiche Resonanz und höchst
ansprechende Anschlagskultur.«
Paul Badura-Skoda
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Congratulations! The new 280 model has
the traditional qualities of a Bösendorfer
piano, including the melodious sound, and
also it has a rich resonance and very responsive keytouch.
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Mod. 280
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The commanding flagship
T he DNA carrIer
Of all our grand pianos, model 290, the Imperial, carries
the Bösendorfer DNA, our heritage in its most pronounced
form. Historically, this grand piano epitomises the Bösendorfer grand piano of the 19th century. Originally built
following a suggestion by composer Ferruccio Busoni, the
Imperial has 97 keys, i.e. eight full octaves. This expanded
range allows faithful performances of a number of compositions by Bartók, Debussy, Ravel and, not least, Busoni.
Combining a very powerful sound-board and a high
proportion of sound-spruce from the Fiemme Valley in
the South Tyrol, this piano’s sound is almost orchestral.
The Bösendorfer “resonating box principle” which views
the entire instrument as a cohesive whole, generates
unsurpassed power and a poignantly full tone. Model
290 is our only standard grand piano model to have
acquired an epithet when it was first built in around
1900: Imperial (lat. imperare, to order, command).
Its commanding presence in some of the world’s great
concert halls sets the standard by which other grand
pianos are judged.
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ModeL 290 Imperial
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»Das ist es, das gehört mir!«
Oscar Peterson begegnet dem
Bösendorfer Imperial
»This is the one!«
Oscar Peterson meets the
Bösendorfer Imperial
Oscar Peterson
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The upright piano
T haT so u nds LIke a grand
Many people say Bösendorfer’s 130 CL model sounds like
a grand piano; many think it is the best upright piano in
the world.
Naturally it benefits from all the expertise of our craftsmen
just as our grand pianos do. By definition it has all the
advantages of an upright piano over a grand piano: it is
smaller and needs less space, it is easier to acquire and is
more affordable. The precision installation of the mechanics is designed to deliver optimal playability and maximum control without loss of power transmission.
Model 130 CL is a tremendously elegant design and its
proportions are perfectly balanced. In other words, it
is a beauty.
It is probably the easiest way to share the exclusive,
world-famous Bösendorfer name.
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ModeL 130 CL
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»Bösendorfer
ist die Königsklasse
des Klaviers.«
Axel Zwingenberger
»Bösendorfer
is the royal family
of pianos«
Axel Zwingenberger
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The Institutional Models
So cL o se To p erfe cTIo n
To learn a craft properly, it is important to use the best
tools available from the very beginning, which is why we
at Bösendorfer have come up with something very special:
the CS series of grand pianos, manufactured specifically
with music colleges and conservatories in mind. In terms
of tone, these grand pianos are in no way inferior to their
“big brothers”. Only in areas that do not compromise the
piano’s touch, action or tone quality, we have undertaken
a series of simplifications to help students afford the best
tool for the job.
More than ever, Bösendorfer is aware of its great responsibility towards its musical inheritance. We have observed
technical developments and changes in the economic
climate, without losing sight of our fundamental
musical achievements and advancements in
the art of piano building. As a result, we are
able to identify the need for new products
and respond quickly to changes in our
markets.
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ModeLs 200 cs and 214 cs
ConservaTorY SerIes
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Su rface fInIshe s – a Wo rL d o f p ossIb ILITIes
Bösendorfer grand pianos can be supplied in a range of
exquisite surface finishes. These two pages show the highquality veneers we most frequently use.
Wenge
Pyramid mahogany
Rosewood
Burr walnut
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Of course, your Bösendorfer can also be lacquered in any colour
you wish.
We look forward to discussing your individual requirements.
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Walnut
Pommele
Bubinga
Mahogany
Amboyna
Bird’s eye maple
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A design item
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DesIgn bY F. A. Porsche
weL co me To T he 21sT cenTurY
In close cooperation with the world-famous Porsche Design
company, we have created a masterpiece, a contemporary
approach to grand piano design. In keeping with the
Bösendorfer motto – “cherish traditions, transcend limits”
– this new interpretation incorporates ground-breaking
new features that will have a lasting impact on the development of grand piano design.
While the body of the instrument has maintained its
traditional curved form, a thinner, lighter lid is inserted
flush into the piano rim. The lid is made of a lightweight
high-tech honeycomb material allowing it to be opened
and close by a gas spring mechanism. The hinged front
portion of the lid has been replaced by the front crosscover into which a fold-out music desk has been inserted.
The sound volume can be adjusted by means of two
aluminium sliders placed on either side of the music
desk. The music shelf is also made of aluminium.
The simple shape of the lyre, which resembles
a fourth leg, is of equally serene elegance, combining form and function in a masterly fashion.
Aesthetics and sound in step with their times.
Welcome to the 21st century.
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The award-winner:
Bösendorfer’s new grand piano
model Design by F. A. Porsche
won the Best of the Best Award
2004.
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The dancing model
L eT ’s WaLT z
Viennese musical history and the Bösendorfer piano
factory are inextricably linked. Instruments made by
Bösendorfer, the imperial and royal supplier of pianos,
were owned not only by royalty and the nobility, but also
by the great musicians of their day, including Johann
Strauss II.
Johann Strauss’s formal title was “court ball director”, but
he was more popularly known as the “waltz king”.
With Strauss’s music, the popularity of the Viennese waltz
spread rapidly. Austria came to be identified with this
music – and still is today. The “Blue Danube”, for instance,
composed by Strauss in 1867, is Austria’s unofficial national
anthem.
The Johann Strauss model produced by Bösendorfer today
is inspired by the instrument on which the great master
wrote his compositions, which is still in the
Strauss memorial rooms in Vienna.
With this instrument you are acquiring a piece
of Viennese musical history.
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Johann STrauss ModeL
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The traditional one
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VIenna ModeL
Ho mag e To T he musIc capITaL o f The worL d
Vienna and music are inseparable. Vienna is inextricably
linked with Ludwig van Beethoven, Wolfgang Amadeus
Mozart, Joseph Haydn, Franz Schubert, Arnold Schoenberg,
to name just a few. World-famous concepts such as the
Viennese waltz, the Vienna Boys’ Choir and the Vienna
Philharmonic epitomise Vienna’s image as the music
capital of the world.
Vienna is also the city where Ignaz Bösendorfer founded
his company on 25 July 1828 after completing his apprenticeship as a piano builder. The company has always kept
one thing close to its heart: the determination to build
the best grand pianos in the world.
We view the Bösendorfer Vienna model as a homage to
the city which loves and lives music like no other city in
the world. With its fine carved and inlay work in the noblest
materials, amboyna wood veneer and 19th-centuryinspired stylistic features, this grand piano
combines the very roots of musicality with
21st-century technical and craftsman expertise.
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»There are pianos,
and then there is Bösendorfer.«
Joe Zawinul
Joe Zawinul
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The serious one
P o InT Ing T he waY
The exceptionally majestic casework of the Bösendorfer
Senator model is created by using a combination of two
different woods. The external wall, the lid and the fallboard
are in polished pyramid mahogany with pear-wood inlays.
Our pyramid mahogany is sourced from controlled forest
concession areas in West Africa where mature mahogany
trunks are felled in keeping with forestry practices. Rough
pyramids are created from suitable forks in the wood at
the sawmill. Veneers made from this wood are particularly
beautiful because of the unique smooth cut and the striking, decorative pyramid design which reflects the light.
Over time, the initial light red to reddish-brown colouring
darkens to the characteristic warm mahogany tone with
its golden shimmer.
For centuries, mahogany has been an elegant and expressive wood for fine period furniture. The superb
workmanship of this noble wood by Bösendorfer
turns every instrument into an individual
masterpiece. The Bösendorfer Senator model
is as individual as you are.
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SenaTor ModeL
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Leonard Bernstein
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The artistic one
ArT ’s g re aT mYsT erY
The Bösendorfer Artisan model, a stunning display of fine
hand inlay techniques, is a beautiful work of art even
before a single note has been played.
As long ago as the second millennium BC, inlaid work
featuring geometric and figurative designs was produced
in the Orient as facing for very special objects. The design
hallmark of the Artisan is its discreet floral ornamentation
worked – by hand, of course – with a variety of excellent
woods such as walnut, maple, pear-wood, cherry-wood,
mahogany, aruba and burr amboyna.
For as long as anyone can remember, creative minds in all
walks of life have grappled with art’s great mystery
and the question of what makes art art?
The Bösendorfer Artisan model could – by its very
name – symbolise the quest for the great mystery
of art.
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ArTIsan ModeL
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»I alwas enjoy playing
on a Bösendorfer.
Best regards and thank you.«
Sviatoslav Richter
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The contemplative one
O f L asT Ing vaL u e
The European transitional style between late Baroque and
Classicism is called “Louis-seize” after Louis XVI of France.
Classicism’s return to the world of Antiquity led to a taste
for naturalistic forms, such as baskets of flowers, willow
boughs, garlands of fruit, ribbons, swags and classical
ornaments. Marie Antoinette herself – wife of Louis XVI –
is said to have sparked off the rediscovery of naturalistic
décor.
Rediscovery and a return to the past, the search for meaning and lasting value and things that can be relied on in
life: these are all recurring themes to which thinking
people have come back time and again throughout the
ages.
Since 1828, music-lovers have known that there is one
thing they can rely on: our determination to build
the best pianos and grand pianos in the world.
The value of a Bösendorfer is longer lasting than
one lifetime …
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LouIs XVI ModeL
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»You have already learned of the
superb success of the concert given
by Prince Geza Zichy. His playing was
wonderful, and the Bösendorfer grand
piano too. Humbly yours,
Franz Liszt«
27th January 1879, Budapest
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The Poetic one
Ine x hausT IbL e RIchne ss
Franz Schubert died on 19 November 1828 at the age of 31
and was laid to rest in Vienna beside Ludwig van Beethoven, as he had wished. A few months earlier, Ignaz
Bösendorfer had received his licence to take over his master
Brodmann’s workshop and start producing instruments
under his own name. The time at which young Ignaz
Bösendorfer was realising his dreams was an exceptionally
rich and sensitive one in terms of music. It also coincided
with the period 1815 to 1848, whose style of painting,
literature and furniture has been known since the beginning of the 20th century as Biedermeier.
Schubert’s works always revealed an effervescent inventiveness coupled with an inexhaustible richness of melody
and harmony.
Created as a homage to this great musician, our Franz
Schubert model combines Biedermeier-period and
contemporary stylistic elements.
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Franz SchuberT ModeL
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The Romantic one
MY se co nd se L f
“The piano is my second self” declared Frédéric Chopin.
He certainly knew what he was talking about; almost his
entire oeuvre was composed for the piano.
To mark the 150th anniversary of Chopin’s death, we
created an exclusive masterpiece using the superior technical workmanship for which Bösendorfer pianos are
renowned. Many of the lovingly crafted carvings were
inspired by pianos on which Chopin played during his tour
of England and Scotland in 1848. These beautiful details
reflect the care lavished by English piano builders on producing their works of art. The name board of this piano
has a hand-engraved plaque in gold-plated solid silver,
which features the composer’s signature.
This model is available in a variety of sizes, veneers and
finishes. Our Chopin model is an investment with a
truly unique character.
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ChopIn ModeL
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From The cradLe InTo The WorLd
We at Bösendorfer are extremely fortunate.
We have the good fortune and honour of knowing many
of our customers personally. We are delighted to offer you
the opportunity of coming to our factory to choose “your”
Bösendorfer and see the birthplace of this legendary
instrument. It really is well worth coming to Vienna – we
very much look forward to welcoming you.
And once you have chosen “your” musical companion, we
pack it with the greatest of care and send it off on its
journey.
Best wishes from Vienna
Your
Bösendorfer team
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BSD_cover produktkatalog e 23.05.2005 8:45 Uhr Seite 2
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Bösendorfer
Con T en Ts
The Bösendorfer of grand pianos ....................................................................................................................................................................................... 1
The history – Father and son ................................................................................................................................................................................................ 2
Crafted by hand – Visionaries build better .................................................................................................................................................................... 6
Standard models A magical beginning – model 170 ............................................................................................................................................ 10
The baby grand – model 185 ....................................................................................................................................................... 12
The classic – model 200 ............................................................................................................................................................... 14
The salon grand – model 214 ...................................................................................................................................................... 16
The half concert grand – model 225 ........................................................................................................................................ 18
The giant of the stage – model 280 ....................................................................................................................................... 20
The commanding one – model 290 Imperial ..................................................................................................................... 24
The upright piano – model 130 CL ........................................................................................................................................... 26
Institutional Models – Conservatory Series models 200 CS and 214 CS ......................................................................................................... 28
Surface finishes – a world of possibilities ................................................................................................................................................................... 30
Special models
A design item – Design by F. A. Porsche ................................................................................................................................. 32
The dancing one – Johann Strauss model ........................................................................................................................... 34
The traditional one – Vienna model ....................................................................................................................................... 36
The serious one – Senator model ............................................................................................................................................ 38
The artistic one – Artisan model ............................................................................................................................................. 40
The contemplative one – Louis XVI model ........................................................................................................................... 42
The poetic one – Franz Schubert model ............................................................................................................................... 44
The romantic one – Chopin model ......................................................................................................................................... 46
From the cradle into the world ........................................................................................................................................................................................ 48
Editorial · Editor L. Bösendorfer Klavierfabrik GmbH, Bösendorferstraße 12, 1010 Wien · Responsible for the content CEO Manfred Aichinger · Photos Bösendorfer, David M. Peters · Design FineStudios®
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Grand PIanos OveraLL VIew
Model 290 Imperial
Model 280
97 keys
Length: 9’6”
Width: 5’9”
Net weight: 1.225 lbs
88 keys
Length: 9’2”
Width: 5’3”
Net weight: 1.167 lbs
Model 225
Model 214
92 keys
Length: 7’4”
Width: 5’25”
Net weight: 923 lbs
88 keys
Length: 7’
Width: 4’11”
Net weight: 826 lbs
Model 200
Model 185
88 keys
Length: 6’7”
Width: 4’11”
Net weight: 753 lbs
88 keys
Length: 6’1”
Width: 4’11”
Net weight: 726 lbs
Model 170
Model 130 CL
88 keys
Length: 5’
Width: 2’1W”
Height: 4’4”
Net weight: 656 lbs
88 keys
Length: 5’8”
Width: 4’11”
Net weight: 691 lbs

Brochure

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