Bösendorfer
One of the oldest surviving piano makers, the Bösendorfer firm dates to 1828 Vienna, Austria. The founder Ignaz Bösendorfer had apprenticed to the well known instrument maker Josef Brodmann, also from Vienna. In 1830 Ignaz Bösendorfer was granted the status of official piano maker to the Emperor.

This period style Bösendorfer piano dates to 1870 - 1880 and is a superb example of late 19th century Viennese piano making. The piano action is in the Viennese tradition or "Wiener Mechanic" and would be perfectly suited for interpreting the piano music of Schumann and Brahms as well as other mid century Romantics.

Case: exterior case of rosewood with brass stringing; interior case of natural maple; ebonized nameboard with brass inlaid inscription; legs of ebonized turnings with rosewood facets, brass wheels and leg cups. Intricately scrolled music desk with 2 candle stands. Length: 6 feet 2 inches.

Condition: Restored

Price: SOLD

 

Brahm's Intermezzo in A Major played on this Bösendorfer Viennese grand. (on a slow connection this may need time to load)

(It was the morning for moving the Bösendorfer to it's new owner. I arrived early to the shop with the hope of recording a little Brahms on "the Wiener" before the piano movers came. I set up the mics and turned on the recorder, thinking I would play through it a bit to get the correct recording levels and mic placement. I was only a few bars into the Brahms when there was a loud pounding at the door. The movers had arrived early. I whisked them away to the kitchen, and, with no time to check levels, hastily started the recording over while Jonathan kept the movers at bay with doughnuts. Unfortunately the levels were a bit high, hence the distortion you are no doubt hearing. Still, in spite of this 20th century technological shortcoming, I still am moved by how this piano captures the essence of this Intermezzo in a way that say a modern Steinway or even a modern day Bösendorfer for that matter just cannot. On a Viennese instrument, Brahms music becomes transparent, lending a clarity to the inner voicings which, on a modern day instrument, become lost in the crowded din. I cannot help but think of old Brahms sitting at his Streicher at his flat in Vienna, playing this music, reflecting back over his long and illustrious life which traversed a good portion of the 19th century. Soon the old man, the old century and the even older Wiener Mechanics would be no more. Jack)


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