Schimmel - A Short history

Schimmel Pianos, established in 1885, have a proven record of building pianos of excellence. For me these pianos have become one of my personal favourites - simply because they are so very good. I have had a couple in my workshop over the last few years and have been deeply impressed by the sheer quality. Always respond well to work and are mechanically and tonally reliable. They are a piano Tuner/Tech's piano! 

The Schimmel Piano Company has navigated itself through tough economic conditions by manufacturing some pianos, for a time, in Poland and China. Making the most of computerised machinery, together with their traditions of handcrafting expertise, the Schimmel Piano deserves the highest esteem of all who have the privilege of playing one!

Established in 1855 in Neuschonefeld, the company grew steadily and had a factory built in nearby Leipzig - opened in 1897. During the Great Depression, production was moved to Braunschweig as part of a co-op of piano manufacturers.

In more modern times, 2003, a more moderately-priced range of pianos was produced in Poland under the 'Vogel' name. These were replaced by the Wilhelm Schimmell brand some 10 years later.

In 2007, like some other piano manufacturers, Schimmel imported a Chinese-made piano. These 'May Berlin' pianos were discontinued about 5 years later.

Personally, I'd like to see many more Schimmel pianos here in England - simply because they are so good!

© Steve Burden

 

Petrof - A Short History

Antonin Petrof studied the art of piano making with his uncle, Jan Heitzmann in Vienna. Returning to Bohemia in 1864 established the Petrof Piano Company and began building pianos. The following year his father’s joinery behind the Cathedral of Svaty Duch was repurposed to make it more suited to building pianos.

In 1874 Petrof pianos moved to larger facilities for manufacturing operations, eventually producing their own keyboards and actions. Business was steadily gathering momentum so that in 1894, they began exporting their pianos abroad, and were able to set up a service centre and warehouse in Vienna.

Antonín Petrof was appointed in 1899 to be the court piano maker of Austria-Hungary. The growth of the business continue over the next 20 years so that Petrof expanded their foreign sales - selling to Japan, China, Australia and South America.

1928, Petrof together with the American company Steinway opened a subsidiary in London. When Petrof pianos won the gold medal at the World Exhibition 1934 in Brussels, the Petrof factory employed about 400 people. 

The 100,000th Petrof piano was produced in 1963 and has their research centre for continued scientific development. After a period of state ownership the company was privatised in 1998 and was returned to family control in 2001. 

© Steve Burden

Ibach - A Short History

Ibach Pianos have been made since 1794 - and it is no surprise that the oldest piano-making operation should also produce the very finest of pianos. Solidly-built and beautifully put together, Ibach Pianos are instruments of elegance and distinction. A piano manufacturer's long history is like a bank of traditions and experience which brings purpose and direction to the long and complex process of building pianos. Pianists love to find a firm and responsive action with a clear and singing tone - these are the distinguishing features of Ibach Pianos.

There are many, very old examples of Ibach Pianos still being used today. Even if they are rather tired and long passed their best, the sheer quality of manufacture still shines through. 

It was Johann Adolph Ibach who in 1794, began building organs and pianos but soon chose to devote his efforts solely to pianos. He handed the business on to his son Carl Rudolph Ibach in 1825. Carl Rudolph, after establishing himself in the new role, sought to find an ever greater market for his product. He travelled to France and Spain entering his pianos in competitions and invariably coming away with an award.

From 1863, the 20 year-old Rudolph took charge and changed the name of the firm to Rudolph Ibach Sohn. His strong and dynamic personality soon enabled the extension of the factory to cope with the growing demand for Ibach pianos. Many of the great piano virtuosos of the time played Ibach pianos. 

Rudolph sent his son younger brother Walter to study the methods of other great piano makers. Walter spent some time in Paris with Gaveau but also visited Brussels, and London before going to America spending some years with George Steck. 

During World War II, the Ibach factories, concert halls, retail houses and even their archives were completely destroyed. At the close of the war, another chapter in the unfolding story of Ibach Pianos was begun at Schwelm. Ibach Pianos continue to be among the finest in the world. Modern Ibach Pianos still impress any pianist looking to play his music on a first-rate piano.  

Ibach family names include: Johann Adolph Ibach, Carl Rudolph Ibach, Peter Adolph Rudolph Ibach, Hulda Reyscher, Albert Rudolph Ibach, Johann Adolph Ibach, Rolph Ibach.

© Steve Burden

 

Bosendorfer - A Short Early History

There were many piano builders in Vienna in 1828 when Ignaz Bosendorfer began building his pianos.  At 19, Ignaz Bosendofer began an apprenticeship with the organ & piano builder Joseph Brodman.

When he was 34 years old he took over the Brodman workshops and set about improving their pianos. The Viennese pianos were traditionally mellow in sound with a light and easy touch of the action. Improving the construction allowed for heavier strings and a stronger action, thus making the tone much more like that of the modern piano. 

In the piano world, high quality speaks for itself - the rugged reliability of Bösendorfer pianos won the admiration of virtuosos. Franz Liszt, known for his formidable technique found it difficult to find a piano that could withstand his vigourous playing - until friends suggested he try a Bosendorfer Piano for his recitals.

Using a Bosendorfer, he was impressed to find at the end of the recital, the piano was undamaged! This sensational moment established the Bosendorfer Piano's reputation and their long association with Franz Liszt who wrote, “The perfection of a Bösendorfer exceeds my most ideal expectations...”

Bösendorfer Pianos were soon exported to the rest of Europe and overseas so that Bosendorfer became the best-known of all Austrian pianos.

About 1860, Ludwig Bösendorfer succeeded his father in carrying on the business and moving to a new factory in New Vienna. Bösendorfer had to move again ten years later to cope with the growing demand for Bosendorfer Pianos.

© Steve Burden

Bluthner - A Short History

At Leipzig, in 1853 Julius Bluthner began making pianos. The qualities of Bluthner Pianos soon won them recognition among the great names of the piano trade and among the Royal Courts of numerous countries - Queen Victoria, the Russian Tsar and many others owned Bluthner Pianos!

Julius Bluthner worked hard at creating a network of international contacts to ensure he could establish a truly global demand for his pianos. Here in the UK, Whelpdale, Maxwell & Codd was founded in 1876 - purely to import Bluthner Pianos. 

After surviving the First World War, and then the Great Depression, the business suffered a severe blow when, during the Second World War, their factory was bombed in an air raid in 1943. The difficult, East German politics of the time meant recovery was very slow. However, production of Bluthner Pianos began once more in 1948.

The firm was nationalised in the 1970s but in 1990, the business was given back to the Bluthner family.

People still talk about the ‘Bluthner’ tone! The beauty of a good piano is found in its tone - Somehow, the Bluthner pianos, more often than not, seemed to get it right! Solidly built to last, many Bluthner pianos, 100 years old or more, are still being used and often still sounding as clear and pure as ever. People love them!

For a while Bluthners used their own Patent Action - vastly different from what has become the standard ‘roller’ action. These patent actions used a slightly shallower touch, but when working properly are, even now, a delight to play! 

Another notable innovation was the ‘Aliquot’ system: a 4th string was given to the upper two thirds of the treble strings. This 4th string was not struck by the hammer but was left to pick up the vibrations of the notes ‘sympathetically’ - the result was a very subtle extra layer of harmonic overtones. Quality has a voice of its own! In a Bluthner Piano, this voice is always in good form!

© Steve Burden