Pianos: Economic and Competitive Conditions Affecting the U.S
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Wykaz Producentów Pianin I Fortepianów Brand-Name Owner Manufacturer Production's Country A
Wykaz producentów pianin i fortepianów Brand-name Owner Manufacturer Production's Country A. Grand Beijing Xinghai Beijing Xinghai Musical China (Frnace only) Musical Instruments Instruments Acrosonic Baldwin Baldwin US Albrecht, Charles Belarus Piano Co. Guangzhou Pearl River Russia, China Piano Co. Altenburg, Otto Samick Musical Instrument Indonesia, Korea Astin-Weight Astin-Weight Astin-Weight US Astor Young Chang Young Chang South Korea, Japan August Foerster August Foerster August Foerster Germany Baldorr & son Baldorr & son Factory in Moscow Russia Baldwin Baldwin Baldwin US Baldwin, D. H. Baldwin, Samick Baldwin, Samick US, Indonesia, Korea Barratt & Robinson Barratt & Robinson Musical Products Malaysia (UK only) Bechner Bechner Bechner Ukraine Bechstein, C. C. Bechstein C. Bechstein Germany Becker Kimball no longer available US Becker, J. J. Becker J. Becker Russia Belarus Belarus Piano Co. Profabis Trading Belarus, The Guangzhou Pearl River Netherlands, China Piano Co. Bentley Bentley British Piano UK (UK only) Manufacturing Co. Bergman Young Chang Young Chang Korea Betting, Th. Legnicka Fabryka no longer available Poland Bluthner Julius Bluthner Julius Bluthner Germany Bohemia Piano C. Bechstein Europe C. Bechstein Europe Czech Republic Bonaseal Yantai Longfeng Yantai Longfeng China Pianoforte Company Pianoforte Company Borgato Borgato Borgato Italy Bosendorfer Kimball Bosendorfer Austria Boston designed and owned Young Chang Korea, Japan by Steinway & Sons Kawai Brentwood Guangzhou Pearl Guangzhou Pearl River China River Piano Co. Piano Co. Brinsmead, John Kemble & Co Kemble UK Broadwood John Broadwood & British Piano Korea, UK Sons Manufacturing Co. Cable, Hobart M. Story & Clark Story & Clark n/a Calisia Calisia Calisia Poland Carl Ebel Kemble & Co Yantai Longfeng Pianoforte China Challen Challen Musical Instruments Malaysia, UK Chappell Chappell Co. -
Marquetry on Drawer-Model Marionette Duo-Art
Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
Fridolin Grand and Upright Pianos 2021
Fridolin Grand and Upright Pianos 2021 Designed by Schimmel by Designed 1 | The focus on quality and technical genius are talents that both brothers Wilhelm and Fridolin Schimmel enjoyed on both sides of the Atlantic Ocean. In 1893 Fridolin Schimmel pianos became a synonym for quality and craftsmanship in Northern America. Today, Schimmel keeps this heritage alive with care. 2 | 3 2 | 3 FRIDOLIN SCHIMMEL – A SMART INVESTMENT Fridolin instruments are part of the brand family of Schimmel. This guarantees that you are purchasing an instrument of value for which Schimmel vouches with its name! All Fridolin instruments are based on a Schimmel technical design. With over 130 years of excellence in piano making we ensure that Fridolin pianos offer the soul of a German piano in sound and touch. All Fridolin instruments have a Schimmel cabinet design. Schimmel has been awarded with numerous design awards such as the red dot award, the Good Design Award and the nomination for the German Design award. Fridolin instruments look classy and stylish. All Fridolin instruments are manufactured in China according to a defined processes from Schimmel and supervised by German craftsmen from Schimmel. This assures a continuous quality promise. All Fridolin instruments are made of carefully selected materials such as German Hammer felt and Rösslau strings, to warranty that you are purchasing an instrument of value. All Fridolin instruments are equipped with Schimmel´s extended factory warranty to assure that you are purchasing a durable instrument. Fridolin -
Steinway & Sons
Revised January 21, 1997 Steinway & Sons (A) A Steinway is a Steinway. There is no such thing as a “better” Steinway. Each and every Steinway is the best Steinway. Theodore Steinway The 1990s was a period of change for the music industry. Foreign competition in the mid-price upright piano market was intense. In addition to well-entrenched players from Japan (Yamaha and Kawai), two South Korean firms (Young Chang and Samick), were emerging as competitors. Moreover, Yamaha and Young Chang had already established a presence in China. Forecasts indicated that the future growth market for pianos will be concentrated in Asia. This case discusses Steinway & Sons’ history, the evolution of its value system, and the current market conditions facing the firm. It highlights the issues faced by Steinway & Sons as its top management formulates its strategy toward the growing Chinese piano market. COMPANY BACKGROUND The Steinway Family Years — 1853 to 1971 Steinway & Sons was founded in 1853 by Henry E. Steinway, Sr. and his sons, Henry Jr., Charles, and William. In 1854 the firm entered and won its first competition. A year later it won first prize at the American Institute Fair in New York. By 1860 Steinway & Sons built a manufacturing facility at 52nd Street and Fourth (now Park) Avenue, on the site now occupied by the the Seagrams Building. Here 350 men produced 30 square pianos and five grands per week. In 1864 the firm opened a showroom on 14th Street. In 1865 sales topped $1,000,000. From the beginning, piano building at Steinway & Sons was a family affair. -
In Tune! for Details
INN TUUNNEE! I T ! Newsletter of the Piano Technicians Guild, San Francisco Chapter May 2010 Calendar of Events President's Message Next Chapter Meeting 7:30pm Tuesday, May 4 Israel Stein Piedmont Piano (the new one) 1728 San Pablo Ave. (at 18th St.) Oakland, CA 94612 510-547-8188 I wish to thank San Francisco PTG chapter members for voting in the recent election, and for entrusting me Business Meeting: with the Presidency of the chapter. I will work hard to Overview and explanation of future chapter fulfill your expectations. This was the first contested technicals and stand-alone technical events – election within anyone’s memory – and I hope that we we'll be looking for feedback from you, the will have more such in the future. Competition forces members. the candidates to put their best foot forward – and We'll vote on whether or not to reimburse a many good ideas were advanced by all. I believe that chapter alternate at PTG Annual Conventions, good ideas and good intentions expressed by a and if yes - what to cover. (The chapter member willing to stand for election should not be delegate is reimbursed for round trip airfare or wasted just because the chapter chose someone else. car mileage, 2 days' hotel stay, convention So I invited Frank French and Zhi Wei Huang to a registration and 2 days' per diem @ $35 ea.) planning meeting held at my house recently, and Vote on 2010 chapter dues remission for offered them the opportunity to make their ideas a Golden Gate chapter members wishing to join reality. -
The Strategies of Piano Manufacturers: Crafts, Industry and Marketing
The Strategies of Piano Manufacturers: Crafts, Industry and Marketing Yuko Oki, Toyo University, Japan The IAFOR International Conference on Arts & Humanities – Hawaii 2017 Official Conference Proceedings Abstract The piano was invented at the beginning of the 18th century in Europe, and thereafter was developed chiefly in Great Britain during its Industrial Revolution. New manufacturers appeared in the latter half of the 19th century to challenge the older makers such as Bösendorfer of Vienna and Érard and Pleyel of France. The advent of these new makers—Bechstein, Blüthner and Steinway & Sons—led to expanding intense competition. With Steinway's technological innovation, however, the centre of piano manufacture shifted to the United States. In fact, Steinway pianos are still loved today by professional pianists. Meanwhile, the latecomer, Yamaha, adopted a system of mass-manufacturing using automated assembly-line production. Yamaha, enabled by its marketing strategies, soon became a pioneer in the market of Japan and abroad. It went on to become the largest maker of musical instruments in the world, in terms of production quantities. Yamaha has a broad fan base, and it has been to some extent a threat to the Steinway business. Steinway was established at a favorable time, when America's piano market was already expanding. Building on the piano manufacturing technologies already established in Germany, Steinway & Sons' technical innovations perfected the piano as a musical instrument, and the company successfully protected its patent rights. Yamaha, meanwhile, was founded when the piano was already a fully developed musical instrument, and the company successfully focused on how best to mimic manufacturing methods, and efficiently standardize and mass produce its products. -
A Study on the Conditions of Competition Between Imported and Domestically Produced Pianos
A STUDY ON THE CONDITIONS OF COMPETITION BETWEEN IMPORTED AND DOMESTICALLY PRODUCED PIANOS Report to the Subcommittee on Trade, Committee o.n Ways and Means, U.S. House of Representatives on Investigation No. 332-159 under. Section 332(b) of the Tariff Act of 1930 USITC PUBLICATION 1411 AUGUST 1983 United States International Trade Commission I Washington, D.C. 20436 UNITED STATES INTERNATIONAL TRADE COMMISSION COMMISSIONERS Alfred E. Eckes, Chairman Pau·1a Stern Veronica A. Haggart Kenneth R. Mason, Secretary to the Commission This report was prepared principally by Ralph J. Watkins and Richardo L. Witherspoon General Manufactures Division Office of Industries Norris A. Lynch, Director Off ice of Operations Charles W. Ervin, Director Address all communications to Office of the Secretary United States International Trade Commission Washington, D.C. 2Q436 i PREFACE On February 15, 1983-, the United States International Trade Commission received a letter from the Honorable Sam K. Gib.hons, Chairman of the Subconuni ttee on Trade of the Conuni tte·e on Ways and Means of. the U.S. House of Represeri~ati ves, requesting that the· Co~ission conduct an investigation purstiant ~o section 332 of the Tariff Act of i930 (19 u;s.c .. 1332) to study the conditions .of competition between· imported anc:i domestically produced pianos: !I The Commission instituted .the requested investigation under subsection (b) of sectiori 332 on Karch 3, ~983~ Notice of the institution of the investigation was given b~ posting copi~~ of the notice in the Office of the Secretary, U.S. Internatio~al Trade qommlssion, Washington, D.C., and by publishing the notice in the Federal Register of Karch 16; 1983 (48 7.R. -
Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-4-2018 Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Buchanan, Vivian, "Evolving Performance Practice of Debussy's Piano Preludes" (2018). LSU Master's Theses. 4744. https://digitalcommons.lsu.edu/gradschool_theses/4744 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVOLVING PERFORMANCE PRACTICE OF DEBUSSY’S PIANO PRELUDES A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The Department of Music and Dramatic Arts by Vivian Buchanan B.M., New England Conservatory of Music, 2016 August 2018 Table of Contents Abstract……………………………………………………………………………..iii Chapter 1. Introduction………………………………………………………………… 1 2. The Welte-Mignon…………………………………………………………. 7 3. The French Harpsichord Tradition………………………………………….18 4. Debussy’s Piano Rolls……………………………………………………....35 5. The Early Debussystes……………………………………………………...52 Bibliography………………………………………………………………………...63 Selected Discography………………………………………………………………..66 Vita…………………………………………………………………………………..67 ii Abstract Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom. -
Howe Collection of Musical Instrument Literature ARS.0167
http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items. -
Tech Hnology Y and Q Quality at Stei Nway & & Sons
Case #6-0023 Technology and Quality at Steinway & Sons Bruce Stevens (CEO), Ronald Penatzer (General Manager of Manufacturing Operations), and Robert Berger (Director of Quality) watched the delivery team carefully uncrate the new computer numerically controlled (CNC) shaping machine. The million dollar piece of equipment, one of several CNC machines Steinway & Sons had purchased in the past five years, would allow the supporting wooden members of a piano to be produced in one integrated machining operation, ensuring snug, square joints between the legs and the piano. These leg joints were particularly important because they received punishing jolts as pianos were moved across uneven surfaces. Traditionally, these shaping operations were manually performed in a dozen steps and often reworked to achieve the quality joints Steinway required. The new equipment sent shock waves through the factory, reverberating with customers around the world. The three men, with over 75 years of piano-building experience between them, knew that changes at Steinway could not be taken lightly. Berger, pointing at the machine, commented “some think that Steinway is automating to save on labor costs or improve productivity. But these investments are all about quality. We are making a few specific technology investments in areas where we can improve the quality of our product.” Everyone nodded and the three headed into the rambling, multi-story production facility to review quality improvement at the CNC machines in the action department. The Early Years Heinrich E. Steinweg, a German cabinetmaker, was well-known for the quality of his pianos. He took first honors for craftsmanship and tone at a competition in Brunswick, Germany in This case was written by Professors M. -
The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2006 VOLUME 43, NUMBER 5
The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2006 VOLUME 43, NUMBER 5 ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt VOLUME 43, Number 5 September/October 2006 AMICA BULLETIN FEATURES Display and Classified Ads Articles for Publication Convention 2007 . .Shirley Nix . .268 Letters to the Publisher Review of the Augustinermuseum Exhibit . .Mark Reinhart . .270 Chapter News Organ Rallies . .Vincent Morgan . .271 UPCOMING PUBLICATION Pianist Biographies . .Mark Reinhart . .273 DEADLINES The ads and articles must be received The Evolution of the Music Roll . .AMICA Bulletin, Jan. 1974 . .274 by the Publisher on the 1st of the David C. Ramey . .Art Reblitz . .277 Odd number months: January July Aeolian, Go Ring-A-Dem Bells . .Denis Condon & Suzanne Magassy . .281 March September May November Convention 2006 . .Shirley Nix . .286 Bulletins will be mailed on the 2nd week Player Piano . .From Morning Call . .288 of the even months. E. Robert Schmitz . .From New York Herald Tribune . .290 Dr. Michael A. Kukral, Publisher When Europe Went to War . .Eric Felton . .291 216 Madison Blvd. Terre Haute, Indiana 47803-1912 Roll Over Debussy .