A 7’3” Sauter Omega grand piano made a magnificent debut as a visual exhibit as well as an artistic musical instrument at the 32nd New York City ArtExpo held March 2010. Following a chance-meeting between Noble Art Pianos President Peter Becker, partner, Elizabeth Campbell, and artist Dean Loucks the trio arranged for Loucks to apply his unique artistic talent to a Sauter piano supplied by Noble Art Pianos.  Dean Loucks selected the case of an Omega grand as the canvas of his latest creation.  Loucks is a specialist in large-scale paintings who works in exacting detail with a variety of tools including paint guns, airbrushes, and razor blades. Describing his style as “the art of removal”, Loucks applies various thinners to the layers of paint. The astonishingly beautiful result is a stunning piece of art that demonstrates the artist’s flexibility and adventurous approach to art.

According to Becker “Painting on pianos is not new in itself—it has been done for over 100 years, but Dean Loucks’ work is ‘now’, new, contemporary and tasteful,” He arranged delivery of the Sauter piano to Loucks’ studio in Elkhart, Indiana and a complex process of taking the piano apart, painting it and putting it back together again ensued—with the added pressure of having the piano completed by the show date, and in perfect condition to be played for performance and promotional purposes.  “The task was daunting, but well-within our scope of work,” said Loucks, “We are used to deadlines and I am so enthused about the show—I have it planned to perfection—The New York ArtExpo has been my focus and obsession!  I have been able to expand the scope of my work because of this opportunity.”While the instrument stood out as a magnificent showcase for contemporary art, its musicality brought real magnetism to the twenty-five thousand attendees.  Various professional and amateur pianists performed on the instrument.  The real musical possibilities of the Sauter Omega came through when recording artist Benita Mushulam; Grammy Nominee and worldwide acclaimed soloist Allison Brewster Franzetti; and the 2010 Latin Grammy winner and composer Carlos Franzetti performed on the Sauter Omega.  Full of powerful dynamics, it is also a sensitive and charming instrument.  Its soundboard, made from the finest European spruce, facilitated richvariations in sound. The Omega responded to the slightest touch, allowing the pianists sensitive expressions to be realized. The hammers, which were carefully selected and voiced by experts, packed loads of dynamism and facilitated the very finest nuances in sound and brilliant tones.

The piano is now displayed in the showroom of Noble Art Pianos in Easton, Pennsylvania.Read More >>> 

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). 

In very well received concert young pianist and piano protege Soyeon Lee performed her debut with the Napa Valley Symphony to the tune of one of Mozart’s most acclaimed works: the Piano Concerto No. 20 in D Minor, KV. 466.

Ms. Lee has been applauded by the Washington Post for her “…stunning command of the keyboard”. The New York Times described her as a pianist with “a huge richly varied sound, a lively imagination and a firm sense of style”. She has received top prizes at the Concert Artists Guild International Competition, the Cleveland International Competition, and the Paloma O’Shear Santander International Piano Competition. She has worked with renown conductors across the globe in particular Rafael Fruhbeck de Burgos, Otto-Werner Mueller and Jahja Ling. She is a graduate of Juilliard where she won the prestigious William Petschek Piano Debut Award and was the winner of two consecutive Gina Bachauer competitions among many others.

Also the concert in Napa Valley was a class in itself. The music critic L. Pierce Carson described the concert, its music and the artist in the Napa Valley Register as follows:

“This is a deceptively simple concerto, with the solo piano part often naked and exposed. Embodying a special brooding and contemplative quality, the work’s simple melody line demands far more from the pianist than technique. It demands heart. And heart was what it got, as Lee displayed musical maturity beyond her years- at times delicate, others quite intense, all the while beguiling the ear…..Continuing the tragic and intense mood of the work, the final movement’s sense of determination was clearly spelled out by the soloist, along with the second …of two dramatic cadenzas.”

The music critic than moves on to focus on the instrument:

“Not to be left out of the equation was the orchestra’s new piano, an imposing concert grand from Germany’s Sauter Pianofortemanufaktur. Lee coaxed the instrument’s brilliant tones and showed off its appealing expressiveness.”

Not to be forgotten was the work of Conductor Asher Raboy who directed the music with passion and forged a special beauty between the soloist and th orchestra.

<

This year is the 75th Anniversary of the Napa Valley Symphony which is supported by individuals and community groups from the area. Napa Valley is the home of some of the finest wines originating in the United States. It is known for its beauty during all seasons of the year and is visited by tourists from across the world.

Notes:

Photo 1: Soyeon Lee in concert with Napa Valley Symphony, Photo 2: Ms. Soyen Lee warming up before concert, Phot0 3: Ms. Soyen Lee- cheerful and ready for Mozart’s D Minor Piano concerto.

Internet Links; 

http://www.napavalleyregister.com/articles/2008/03/12/arts/doc47d78c5a7306e044727858.txt

http://www.soyeonlee.com/

When Jose Negroni was about ready to record his third CD with his Trio he drummed up several renowned Latin Jazz Musicians and a piano: a Sauter Omega (7′3”/ 220cm) was flown to Miami for the recording session. The delicious result will be presented on March 6th in New York under the title: “Father & Son” by Negroni’s Trio.

Jose Negroni has become synonymous for finding kinship among the various flavours of Latin Jazz music, and yet expressing his unique beat and voice. Jose, who was nominated for a Latin Jazz Grammy Award in 2005, has a penchant for melody, the playful shifting of time signatures, and at times classical innuendos. It is not until the album’s second half, in “Your Melody”, that Negroni cuts loose with a smoking tumbao.

Like in a botica- the neighborhood convenience store in Latin speak- there’s something for everyone there. Berklee grad Marco Panascia guests on acoustic bass. The title tune is dedicated to drummer Nomar, Negroni’s son, who continues to grow as an essential part of his father’s trio. “Cajon y teda” is tailor-made featuring West Coast Chequendeque specialist, Alex Acuna. In melancholic mood, “En silencio” is a bolero featuring lyrics and vocals by Maria Nahima; the beloved Consuelo Velazquez standard, “Besame Mucho”, gets an energetic workout.

The presentation of the CD is on March 6th in the Jazz Gallery, 290 Hudson Street, New York, NY 10013. 

 Jose Negroni is a Sauter Artist.

 Notes:

Photo 1: Jose Negroni, Photo 2: Nomar Negroni at the drums, Photo 3: CD Info

www.jazzgallery.com, www.negronistrio.com, www.youtube.com/user/musicaart1

The National Association of Music Merchants (NAMM) is the professional organisation for music retailers and manufacturers. Once a year NAMM organizes what is considered the world’s biggest music instruments show: the NAMM Show. It will be held from January 17 to 20 in the Anaheim Convention Center in Anaheim, CA.

Sauter Piano Company has become one of the most high profile exhibitors as world renown artists presented and performed during the Sauter NAMM Reception. The presentation in 2006 and 2007 had been dedicated to Sauter’s historical roots. In 2006 we presented the Amadeus Limited Edition Grand Piano honoring the 250 Jubilee of the Genus and in 2007 we commemorated Beethoven’s 180th Anniversary. Especially to Ludwig van Beethoven we have a close historical connection: our founder built instruments for him during his apprenticeship in Vienna.

For NAMM 2008 we decided that we need to show to the industry that we are not only the world’s oldest piano manufacturer but also the lead in piano design and aesthetics. Thus this year our exhibit will focus on our Peter Maly design line.

We invite NAMM Industry Participants to the customary Sauter Reception on Friday, Jan 18, 2007. As special guests we will have Andrae Crouch, nine time Grammy Award  winner, and Prof. Bram Wijnands, an authority in Jazz performance and composition and look forward to some special musical treats.

On Monday Dec 16th 2007 Gil Sullivan performed at a sold out Weill Hall at Carnegie. The concert was sublime and the Maestro was received with standing ovations.  Some interesting insights were offered by the technician who prepared the Sauter 275 Concert Grand on a piano discussion website. With permission of Mr. Jerry Cohen, RPT and President of the regional Piano Technicians Guild Chapter, we re-publish his comments:

“Yes, I prepared and tuned the piano.

Since Sauter is not sold in the New York area, yet, this is the 1st one I have worked on.

The piano is quite amazing. It is very powerful and consistent from top to bottom. Most pianos have some compromised areas so you have to balance the tone against the weakest part. Originally this piano was weak in the bass, but I was able to quickly and easily buildt it up. After it arrived it arrived on stage, the bass was almost to big, but Mr. Sullivan said to leave it because he could control the balance.

Also, on stage we all agreed that the piano was very bright, with a slight harsh edge that should be toned down. Many bright pianos die when you try to tone them down, but the Sauter responded extremely well. Not only did the harshness disappear,  but a beautiful round tone started to emerge, without losing any of its power. This is very rare to have power and beauty at the same time.

 After fine regulating and voicing the piano was capable of enormous dynamic range from the softest ppp to a thundering fortissimo. Gil Sullivan’s playing certainly took advantage of all that the piano had to offer.

 Since this was the Carnegie Hall debut for Sauter (as well as Gil Sullivan), being responsible  for the performance of the piano put extra pressure on me. But with an instrument of this quality, it was sheer pleasure to listen from the audience.

Jerry Cohen, RPT”

Jerry- thank you. You did a great job!

Links:http://www.pianoworld.com/ubb/ubb/ultimatebb.php?/topic/1/20458.html#000000

Did you know that approximately half of the pianos produced worldwide come from factories not older than 10-20 years?  Especially in China but also in Malaysia, Indonesia and other South East Asian countries innumerable piano factories have popped up just within a few years. The advantage is obvious: with a new production site you can start at zero without obstacles of outdated machines and inefficient procedures. However, also the factory workers start out at zero and that can very likely be a problem when building pianos.

Grand and upright pianos are remnants of a pre-industrial era and therefore do not lend themselves easily to mass production. Of course,  one can assemble a piano utilizing modern wood cutting tools and machines- but one then still has only an arraignment of parts. Even the oldest piano manufacturers have modern factory equipment and production schedules but continue to rely in many important areas of the piano manufacturing process on craftsmen reagarding a wide varietey of subtle choices that no machine or computer program  can analyze. Only the craftsmen discerns those choices and creatively utilizes them. Thus, each instrument receives its unique  and singular “soul”. This does not go to say that  mass produced instruments should be frowned upon- however, usually they are missing that special “somtehing”.

It is clear that the newcomers in our craft  do not have the luxury of a couple of centuries or at least a few decades of developing their instruments and their craftsmen. Thus the going slogan is : “the smart one imitates”. New  factories aquire instruments of leading and estabished  manufacturers in an effort of reverse- engineering. However many  European manufacturers,  our factory included, do not care about such  things. They make take an instrument apart in the tiniest bits of its parts, and expose it to every kind of torture and yet the piano steadfastly refuses to give away its secrets. Most of the critical information for building a piano is not visible or measurable at the finished instrument.

A little more annoying seems to be the urge of mostly Chinese copy-cats when it comes to exterior design. All you need  is a brochure or a picture from the internet and you are ready to go . We will see how the market will react to this kind of design piratery.

It remains unchallenged that in order to produce  a good piano you need the will to do it and the courage to ask for the price required to cover the cost. Our colleagues from Japan have shown us that they have come to build formidable pianos but their prices are a far cry  from the bargain deals that they were some 20 years ago! Our beloved good piano seems  to successfully refuse to become a mass merchandized commodity. And that continues to make the piano so fascinating and endearing.

Paris, France. The French piano magazine “Pianiste” published an in-depth comparison of the three major German manufacturers of high quality pianos in its April 2007 issue. The test was geared at uprights around 120 cm ( 48′) and Sauter provided its entry model, the Resonance 120, to be examined. The instruments were evaluated in seven categories and descriptevely ranked. The Sauter Resonance 120 superseded its colleagues in six of the seven criterias.

The magazine “Pianiste” described the reasons for Sauter’s highest ranking as follows: “Small details make the difference…Sauter uprights have always caught our attention. There is no need to mention the quality of the manufacturing process and the prestige of the brand….but at such a reasonable price this model mesmerized us due to its musicality and its superior breadth in sound and tone. All sections of the piano are unusually harmonious and provide plush richness of sound. The double repetition (translator’s note: this refers to Sauter’s patented RR action) offers convenience and comfortability and is by far more responsive than other upright pianos. The action of the tested instrument was light and allowed excellent controll in the passages that require pianissimo without hampering its overall responsivess. We appreciate the detailed care of the exterior frame….”. The magazine commended all three instruments and manufacturers for the overall high quality and the value of the instruments.

www.pianistemagazine.com