For many years Sauter Piano Company has relied on a small but most reputable supplier of choice wood to furnish what many consider to be the heart of every piano: the soundboard.  The wood is selected from the Northern mountains of Italy, as a matter fact, from the woods surrounding a small valley known as Val di Fiemme where also the makers of Stradivari and Guarneri violins obtained their wood. The company’s name is Ciresa s.r.l. and their reputation in the piano industry is legendary. Fabio Ognibeni, CEO of Ciresa s.r.l., agreed to share his unique perspective on Sauterforum:

Coming back from a business travel in Europe, where I visited several piano factories, I noticed that the international market crisis and the economical difficulties are damaging the industry of the musical instruments, and that some companies are heavly affected by this situation.  I particularly noticed one aspect that had already come to light years before: during the periods of economical crisis, the companies that had made the brave choice to rely on their quality, were able to limit the damages therefore having more flexibility in a smaller market. On the other side, the factories that chose the policy of economic competitiveness (using low cost parts and materials) are now dealing with their own decisions and with the major problem of reducing drastically the production. There are pianos on the market, with important trade marks written over the keyboard, that are carefully perfected with great design in every detail of the case, but in their inside all the components assembled are cheap and of evident asian origin. Furthermore, these pianos are unable to compete in terms of prices with the chinese ones, which are invading the market worldwide (even if, in view of the economic crisis also the chinese companies are having difficulties, especially because they have to defend their huge production). 

Sempach. District of Luzern. Switzerland. According to an article in the Sempacher Weekly the decision to renew the performance piano for the Sempach Conservatory boiled down to two choices: A Sauter Omega or its size equivalent a Steinway B from Germany. The decision was not an easy one according to Jovita Tuor, head of the well endowed institution  that serves one of the most culturally interested communities in Switzerland. It was, according to the article, a decision between a classic Jaguar and a Rolls Royce. Both are excellent, both are noble instruments.

In the end the Sempach Music Conservatory decided in favor of the Sauter Omega. The instrument arrived in style and was inaugurated by outstanding students of the Conservatory. After several Mozart pieces the Mrs. Tuor approached the young performing pianist and challenged him.”What do you think, has Mozart shown us all that this instrument can do?” Mr. Ducomman got the hint and added a thrilling performance of Liszt’s Hungarian Rhapsody 6 which was an ecstatic culmination of the of the evening.

Source: Sempacher Woche/ Surseer Woche, Switzerland

Two students of the Graduate Piano Technology Program of Florida State University finished their degree with a capstone experience of working hands-on along long time pianobuilders at Sauter Factory. Under the patronage of Anne Garee and the Department of Music, Florida State University has managed to create an educational program that combines highest quality of academic learning with practical application in a field where many areas are still not scientifically structured and professional information is not readily available. Ms. Jen Roberts and Ms. Amy Potter are among the first given the opportunity to see close-up how a factory that relies on highly skilled manual labor to produce pianos respected as among the best in the world actually works. 

“Investing in the next generation of leaders and professionals in our industry, is part of our company’s mission”, says Ulrich Sauter, 6th generation owner of the Sauter factory. “In the past we supported training programs primarily in Germany simply because our brand and distribution was mainly in Central Europe. However, our industry has become international and with that we have become aware of the need to provide training and education across the globe. Our cooperation with Florida State University is very much cherished. We need more professionals that have had a solid training experience in their field.”

Attached are two interviews with the two graduates in Piano Technology from Florida State University.

Yesterday Noble Arts Pianos  presented Prof. Ulrich Urban in celebration of the Mendelssohn’s 200th birthday. Prof. Urban had come in from Washington, D.C., where he had performed at the National Gallery on the eve of the Superbowl to an appreciative audience of 400. Yesterday’s concert, however, was set in the elegant and more intimate environment of the Noble Arts Pianos in Easton, PA. And Prof. Urban did not dissappoint! His selection for the evening included Mendelssohn’s “Three Songs without Words”, “Three Fantasies or Caprices”, a Sonata from Joseph Haydn, and something very new:  a piece from contemporary composer from Connecticut Elizabeth R. Austin titled “Four Puzzle Preludes on Classical Themes”.

For the performance Prof. Urban selected the Sauter 7′7” Ambiente which despite its power ensured the intimacy of the evening with its sensitivity and velvet character. Check back as we will post a sound sample of the evening by next week.

About Prof. Ulrich Urban:

Born in Frankfurt/ Oder, Germany, Ulrich Urban studied piano at the Leipzig Conservatory with Guenther Kootz and conducting with Rolf Reuter. From 1969 to the present, he has taught at this institution, where he was promoted to the full Professor of Piano in 1991, after the fall of the Wall. His first performances of Bach garnered glowing reviews and his repertoire includes works by composers associated with Leipzig’s musical traditions such as Mendelssohn, Robert Schumann, Maz Reger, and Richard Wagner. He also introduced works by Elizabeth R. Austin, Gernot Grohs, and Erle Ninow as well as the works of the English composer Clement Harris, which he recorded in 2004.

His concert tours have taken him across Europe to Japan, South Africa, South America, and the United States, where he also conducted master classes. Urban has performed piano concertos with more than forty orchestras, including the Berlin Symphony Orchestra, the Dresden and Hamburd Philharmonic Orchestras, the Leipzig Gewandhaus, the the Weimar Staatskapelle, among many others.

See also:

http://nobleartpianos.com/

Cross your heart: Do you know who owns the factory that produced your dining room table or your love seat? Maybe you recall the manufacturers behind these items, but for the most part, we rarely know who stands behind the many products we purchase daily. There are books that seek to disentangle the conundrum of global capital and often interesting details emerge. In the last few years the trend of big corporations buying smaller companies has increased, and we can hear about so called take-overs almost on a daily basis. I would not be surprised if the term “take-over candidate” will become  designated as the Word of the Year.

 Most recently this tendency also reached the piano industry, and it was just a little earlier this year when the renowned piano manufacturer Boesendorfer was “snatched up” by the Japanese musical instruments builder Yamaha. It was a very common transaction and even in this tiny industry of piano builders it was not the first purchase of its kind; some were shocked by the news, but only a few surprised. Noteworthy is that the take-over of Bosendorfer did not launch an industry wide trend. The reasons that led to the sale of Bosendorfer were rather home-made and Yamaha simply used the opportunity. Given the alternative choices, I believe in the long run, that this purchase will provide advantages for both companies. 

This though,  is not today’s topic.  I am more interested in the structures and dynamics underlying such transactions in our industry. Is it of any importance if a piano company is owned by an individual entrepreneur or if it is part of an industrial conglomerate? What changes are there in a small piano manufacturing company when its independence is compromised? Does the consumer care about such changes? What happens with the instruments? Today’s economy has (mostly) abolished person centered product marketing. The packaging in your local food store usually does not indicate a person or an address to turn to. While in former times the proud business owner  put her name and her picture on her products, today one gets the subliminal message that the manufacturer would rather stay anonymous. There is the occasional exception with Aunt Becky praising her guaranteed home made noodles but then consumers suspect behind such claims shrewd and deceptive marketing practices; and for the most part they are right. But then there is also the exception: a German TV ad features Mr. Claus Hipp  who warrants his product with his own good name or the owner of Germany’s biggest apparel factory Trigema, Mr.  Wolfgang Grupp, swears to not move his production facility overseas, then the public becomes attentive and takes note.

Taken at face value the logic is obvious: a product that has been manufactured by a family for many generations can not be all that bad. This thought evokes trust and a sort of guideline in an ever more complex world of products. Modern man is overchallenged to assess correctly the quality of each specific product and therefore he tries to shift the decision towards an area that he feels comfortable. Often that is the honest face of a salesman in the specialty store around the corner. Unfortunately, that criteria becomes ever so less reliable as the salesperson at the local home products store is mostly responsible to restock and to work the cashier machine. At an aggressive discount store, do not even bother looking for a salesperson- just pick up your items and hurry to the self-check out stand.

In the piano industry you will still find owners of smaller factories whose names are on the fallboard of the piano as well as depersonalized brand names that are owned by larger conglomerates. In some rare cases the new business owners retain a member of the family as the product’s and brand’s spokesperson. Of course the question rings: what differentiates these small companies from bigger conglomerates? What do they do right? Where do they err? Well, to start out with the obvious but very noteworthy, these small companies are very old - and a majority have been in business for almost 200 years. I know, by way of personal experience, that in these circles of owners one can find an astonishing resilience that  in some cases borders on obsession. The families and owners of such companies have been in the past, and continue in present times, to stand by their business - despite suffering from financial shortages and foregoing more lucrative careers. There are examples in our industry where such dedication continued to the very end of economic viability.

On the other hand, these virtues have inspired small companies to make their brand known all over the world in a way that usually is only possible for powerful corporations with sheer unlimited advertising budgets. In some ways, it was the owners’ narcissistic and ardent desire to share with the world one’s own piano rather than a strategically devised marketing approach that led to public visibility. Often these small manufacturers would not consider the needs of the client, neither did they pay attention to unaddressed market opportunities, but rather devoted day and night to hovering over beams and rods and developing their instrument; the world, in their mind, was eagerly awaiting the arrival of their piano ready to embrace it as soon as it left the workshop floor. It is not far from the truth to say that to this very day my manufacturing colleagues (and admittedly, I myself, also suffer from such sentiment flashes from time to time) often  are permanently disappointed by the world and almost offended, when an instrument is not instantaneously embraced and celebrated. Thus naturally, any failures in the market place are rarely associated to one’s own product or , per chance, ineffective sales methods but are squarely put on the shoulders of unthankful customers who are just not enlightened enough.

Any marketing expert would revolt against the somehow “neurotic” promotional approach of small piano builders, and most likely will remain in awe that such companies have not been swept off the market into oblivion. But every coin has two sides: the narcistic attitude of family owned piano companies (which sometimes and wrongfully so, is perceived as arrogance) has also its virtues. No automobile manufacturer produces a vehicle just because the chairmen of the board damn likes a particular design. Rather these corporations rely on scientific marketing studies in order to minimize any risk. And what is the consequence? Cars are more and more alike- and the character of the respective brand is steadily lost. The automobile’s public profile is not created on the street but rather communicated in expensive advertising spots. There you can see a cute little car majestically cruising through inspiring scenes of nature and wilderness. But would you notice it - let alone get excited about it - if it were parked just around the corner?

What a difference to the aforementioned family owned piano builders? They could care less about phony marketing strategies and target groups. They follow their dream to build the best upright or grand piano of the world and thus ensure that today there is a broad choice of real brands that are far superior to the corporate cookie cutter manufacturers. Mr. Grotrian, Sr. - from Grotrian Pianos- expressed it best when he told his sons: “Boys, build good pianos, the rest will all fall into place by itself!”

Some of you might find my words too romanticzing- and you may be right! Of course, today it takes more than just building a good piano in order to be successful in the global marketplace. But still, it seems that when a manufacturer puts her name on the fallboard of a piano, that very act creates for the owner something almost sacral.  And thus it happens, that when you buy such an instrument you purchase a bit of that dream and essence of human longing for producing the finest. Don’t you think that this makes the music and piano world even more enticing!

Yours cordially,

C. Ulrich Sauter

How do we raise the quality of our piano program? This is  a key question to many Collegiate teaching professionals across the country. One important answer is found in a unique and groundbreaking program developed by Florida State University in Tallahasee, Florida that should have implications for schools across the country: namely, to provide an accredited training opportunity for those who care for piano instrument parks at colleges and universities. And there is an even more exciting aspect: in an industry that is predominantly male, the driver behind this program is a woman, and mastertechnician: Anne Garee.

Mrs. Anne Garee grew up in a home where both arts and science were enmeshed. Her father was a physicist while her mother was a professional musician who had graduated from the famous Oberlin Music Conservatory. Anne followed the path of her mother and graduated in piano- however, she also intensified her studies and became a piano technician.  She was then offered a position with Florida State University. Being uniquely qualified to understand the needs of pianists and educators as well as relating the technical aspects of piano service she started to develop a formal degree granting program at FSU. Graduates of FSU Piano Technology program are superbly qualified to maintain and manage a large school’s piano park in all aspects.

 We, at Sauter, are deeply impressed with what Anne has accomplished. The embedded video provides furhter insight into the program.

Internet address: http://www.youtube.com/watch?v=FpBnlRMklPA

Just the other day I got a call from a piano aficionado who was looking at one of our instruments. What exactly are the differences between the Sauter Masterline 130 (M-Line) and the 130 Basic, he was asking. Next to him was Rich Gallassini, the co-owner of Cunningham Pianos and a dear friend.  I was trying to catch an airplane and gave a brief description of the main points and promised  more specifics. So Henry, here is the answer:

The Masterline is one of the of the finest uprights in the world. It was designed for customers who really want a sound that compares to a small grand but do not have the space for it in their home. It is also an instrument that is geared to customers who appreciate aesthetic details and seek in products they buy the superlative.  In order to satisfy both requirements, i.e. superior sound quality and tasteful appearance, we decided to go beyond the extraordinary.

 The M-Line utilizes wood from Northern Italy for its soundboard. The little valley of Val di Fiemme has become known over the centuries for the ideal properties of its spruce forests for the production of musical instruments and famous violin makers like Stradivarius and Guarneri sourced their materials there. Sauter uses wood from two areas from Central Europe and while we believe that both make for excellent material for highest quality performance pianos, historically wood from Val di Fiemme has been valued higher and professional pianists have often expressed their preference for instruments that utilize fiemmese timber. The M-Line has an iron cast frame that is polished and smooth like a grand piano. Upon opening the front panel beautiful bird’s eye maple veneer becomes visible. Every part in the instrument has been finished with utmost care and in order to help the owner ensure a proper environment the Masterline has a built in hygrometer. The action of the M-line is also visibly different: the hammers are usually made of light colored beech wood, however, the M-Line uses walnut wood which adds to the visual effect. The action of the M-Line is also slightly different in design and is a bit smoother in feel. While the details are proprietary, a professional pianist will be able to detect the subtle nuance in its feel. The cashmere felt that is employed in the M-Line adds both to its visual appeal and is a higher grade material not common in pianos. The M-Line has, of course, a Sostenuto pedal and a soft falling fallboard.

I know of no other manufactuer that builds an upright comparable to the Sauter M-Line or goes to  similar lengths to make it aesthetically appealing. While all these aspects are certainly very  impressive, truth be told, so is the price.

Enter the 130 Basic. When we decided to focus on the U.S. market, it became clear that both our production costs and the sliding U.S. dollar would make it almost prohibitive for serious pianists on a budget to afford the M-Line. Thus, the 130 Basic became an instrument that is a good alternative.

The 130 Basic employs the identical scale design as the M-Line and has the identical musical properties. While the M-Line reaches beyond the extraordinary the 130 Basic utilizes the finest materials that are used by German and Austrian piano manufacturers in their grand pianos. The wood for its soundboard is sourced from the mountains of Central Austria (around Salzburg and into Southern Bavaria). It has the highest quality grade Renner action and has two pedals. (Note: while there is difference in the design of the action, only sufficiently advanced pianists will be able to detect it). The case is simpler and it does not come with the soft-falling fallboard. Both the 130 Basic and the M-Line feature the renowned R2 Repetition.

The 130 Basic is distributed only in the U.S. and one other market. It is a wonderful instrument for a pianist who needs a professional tool of the highest quality or for an aficionado who enjoyes a beautiful sounding bass and a melodious and colorful treble.

 Henry- I hope this makes things a little clearer.

Recently, while on travels and at an Authorized Sauter Dealer’s showroom, a customer asked the store manager what the difference between Sauter and other European manufacturers is. I listened in to his well formulated description of the technical differences and the principles of production and sound, and I could not have agreed more. Later, on the flight back I reflected on the customer’s question and realized all the reasons why I joined Sauter at the time and what differences I noted when I got to know the company. I am not sure that I can describe it in one posting and I will not try it. The best I can do is to say that Sauter is a company where the bosses sing along….. this saying sounds better in German but to get the point across I have added some video clips.

The following material is from last year’s company Christmas party. It was already late and - admittedly- some had already had their second round of drinks. The gentleman at the piano is Mr. Ulrich Sauter, followed by Ms. Schmidt, the head of office administration, Mr. Hott ,an excellent singer and the company’s president is with white shirt and tie, Mr. Jansch, one of the two factory supervisors can be identified by his white beard and then the camera rolls on to Mr. Schnitzer, the second factory supervisor. Enjoy!

Laredo, Texas. Last evening, June 8th’ 08.

Last evening we enjoyed a piano recital at the beautiful Mann residence.  Mrs. Mann graciously agreed to host the recital making available her Sauter Amadeus Edition Delta.  Maestro Sergio Pena of Nuevo-Laredo, Mexico, presented a didactic program introducing the audience to the intricacies of J.S. Bach’s Goldberg Variations.  These are the only variations Bach ever wrote as he had thought that the variation format of composition was unrewarding.  But when called upon to write them, he transformed the format in a way no other composer has since dared to attempt.

Indeed few pianists today present the Goldberg Variations to a live audience.  This is true to such an extent that Dr. Ray Keck, president of Texas A & M International University, did a double-take when his receptionist mentioned the calendar appointment to him and asked her, “Did you say The Goldberg Variations?”  She called back to confirm, and we assured her that yes, indeed, the Goldberg Variations would be presented in their entirety.

Maestro Pena presented the variations in sets of ten by memory, pausing to introduce interesting historical anecdotes related to the composition and to discuss interpretational differences between the harpsichord and the piano demonstrating how those differences would sound.  He drew exquisite pianissimos and joyous fortissimos from the responsive instrument.  He demonstrated how the piano afforded the opportunity to dynamically layer the various voices in the canons and how to bring out the singing-line in the variations.

We relaxed as the engrossing intricacies of Bach’s superlative music washed over us while a distant thunderstorm softly rumbled and a light rain cleared the air.  To hear the Goldberg Variations presented live is an experience that is difficult to adequately express.  It takes you to a rare meditative state.  Dr. Keck requested that we hear variation 24 again commenting how Bach had achieved there what the impressionists had only dreamed of achieving.

Maestro Pena closed the concert with the Chopin E flat Major Nocturne with a very delicate pianissimo melody over even softer harp-like harmonies.  The Nocturne finished on a triumphant forte chord. 

The artist and audience alike commented on how wonderful the instrument sounded.  A perfect tuning and the artist’s touch displayed the Sauter lush-singing-tone to great advantage.  The presence of Sauter Pianos in Laredo has opened up new venues for great music-making.

Notes:  Mr. Andrew Anderson is the owner of Artisan Pianos and the Authorized Sauter Dealer for San Antonio, Laredo and Nuevo Laredo.

Photo 1. : Sauter Model Amadeus 6′1”, Mrs. Mann, Sauter Owner, Mr. Strmec - Vice President Sauter US Operations,  Photo 2.: Enthusiastic music connoisseurs enjoying an evening at the Mann Mansion

The International Contemporary Furniture (ICFF) will be opening its doors from May 17. to May 20.,  2008 in the Jacob K. Javits Convention Center in New York. The ICFF is North America’s  premier event for contemporary design and this year celebrates its 20th anniversary. During the four days 21,000 designers, architects, retailers, facility managers, wholesalers, store design professionals,  and hotel and restaurant designers will get a glimpse -spread across 145,000 sqf- of the cutting edge of modern design. Of course, Sauter Piano Company - the leader in modern design pianos- will be also represented.

Under the initiative of the Authorized Sauter Dealer for New York, Klavierhaus Inc., Sauter Piano Company will exhibit some of its most recognized design instruments created by Peter Maly. “Our customers want to have beautiful instruments of highest quality in their homes”, says Sujatri Reisinger, owner of Klavierhaus and its service director. “The most fascinating part is that although Sauter Piano Company is the world’s oldest piano manufacturer, founded in 1819, and steeped in tradition-the company has been the leader in piano design and was the first one to think in new and modern ways about the aesthetics of the piano.” adds Gabor Reisinger, owner and General Manager of Klavierhaus, Inc..

Sauter Pianos had always distinguished themselves through special aesthetics which were developed in-house. In the early 1990ies Sauter Piano Company and European designer star, Peter Maly, commenced working together. Since then half a dozen designer uprights and two Maly grand pianos were presented to the public. The Peter Maly design instruments received the Good Design Award in the United States and the Red Dot Award in Europe but most importantly customers across the globe  rewarded the company’s vision. Thus designer instruments have become an integral part of the Sauter factory.

In order to adequately present the instruments Sauter USA teamed up with world reknown modern furniture manufacturer Lignet Roset with whom star designer Peter Maly had also closely worked together. The booth will feature Rive Droit chairs as well as the Offrande coffee table in gold. The highlight of the Sauter booth will be the presentation of the Ambiente - a 7′6” semi-concert grand. This grand piano was shown in January of 2008 for the first time to the American public and is the latest addition to Sauter’s Peter Maly design line. The show is closed to the general public for the first three days but open to anyone who would like to come on May 20th.

Notes:

Photo 1: Sauter Model Ambiente 7′6”- Semi-Concert Grand, Photo 2: Sauter Model Imago Upright, Photo 3: Offrande- Lignet Roset Table - part of the Sauter Booth, courtesy Lignet Roset USA, Photo 4: Rive Droit, courtesy Lignet Roset USA.

www.klavierhaus.com, www.ligne-roset-usa.com, www.sauter-pianos.de