Even these days, when cheap secondhand pianos are in plentiful supply, having been tossed aside to make way for compact, sophisticated keyboards, not many people can brag about owning a Steinway. Fewer own one that’s not worth bragging about. And then there’s the guy who actually went out of his way to buy one that’s not worth bragging about.
So gather ’round my 133-year-old Steinway upright, and hear a little ditty about a man with a laptop, a rental van and impulse-spending issues.
My tune is not quite a dirge, I suppose, since this piano is actually an improvement on the troll it displaced from my living room. But I’d have endured far less angst, and gotten more piano for my money, if I had listened to the experts before leaping at my “bargain” discovery…
From Singapore: Classical music radio station Symphony 92.4FM is putting up a piano designed by Steinway & Sons for auction, and proceeds will go to the President’s Challenge 2015.
The President’s Challenge supports close to 100 charity organisations such as Boys’ Town, Cerebal Palsy Alliance Singapore, Lions Home for The Elders, and Guide Dogs Association of the Blind.
The Boston GP-163PE Grand Piano is valued at S$44,800, with a minimum bid of S$10,000. The silent auction will end on Sep 30 at 11.59pm.
Corporations are welcome to particpate, and the successful bidder can also choose to donate the piano to a beneficiary.
Life very often throws some curious coincidences my way. Just as I was preparing a presentation for architecture students at the Goa College of Architecture on ‘Architecture and Music’ and looking at the relationship of the Fibonacci sequence to music, what should appear in my newsfeed but the announcement of the famed piano firm Steinway and Sons unveiling its 600,000th piano, incorporating the iconic Fibonacci spiral in its design.
The veneer of the “Fibonacci” piano features the eponymous spiral made from six individual logs of Macassar Ebony, “creating a fluid design that represents the geometric harmony found in nature.”
In the words of designer Frank Pollaro, who spent over 6000 work-hours over four years in its creation: “Designing Steinway & Sons’ 600,000th piano was an honour and a challenge. To me, knowing that this piano would become part of history meant that it had to be more than just a beautiful design, but also needed to visually convey a deeper message…as I considered the number 600,000, the Fibonacci spiral came to mind. The way in which it continues to grow but stay true to its form is very much like Steinway and Sons over these many years. Combining the universal languages of music and mathematics suddenly made perfect sense.”
Mind you, 600,000 is not a number in the Fibonacci sequence; I checked. 600,000 is between the 29th and 30th numbers in the Fibonacci series, which are 514,229 and 832,040 respectively. But Pollaro was nevertheless highlighting an interesting relationship between music and mathematics.
Named after the Italian mathematician Leonardo Fibonacci (c. 1170- c. 1250) who brought the Indian-Arabic numeral system to Europe, the Fibonacci series appear in nature and in music, and finds application in architecture and in instrument design, much before the Fibonacci Steinway.
The basic ideas of the Fibonacci progression are contained in the writings of Indian scholar Pingala (300-200 BC) in his treatise on Sanskrit prosody.
The Fibonacci numbers have the following integer sequence: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987 and onward. Each added number is the sum of two previous numbers before it.
In nature, the Fibonacci sequence underpins phyllotaxis (arrangement of leaves on a stem), branching in trees, fruit sprouts of a pineapple among many other examples, and even the shape of the human external ear, and the cochlear apparatus of the inner ear.
It can be applied to the western musical scale as well, with the caveat that the starting note one makes the measurement from (or the ‘root’ note) is designated as 1 and not 0. By this token, there are 13 notes in a scale through its octave. There are 8 notes in a diatonic scale (hence the top note is called an ‘oct’ave). The 5th and 3rd notes create the basic foundation of musical chords. All these are Fibonacci numbers.
The very notes in the scale are based on natural harmonics created by ratios of frequencies. Ratios found in the first seven numbers of the Fibonacci series (0, 1, 1, 2, 3, 5, 8) are related to key frequencies of musical notes. Thus if we take an arbitrary frequency of 440 Hz, the root note has a ratio of 1/1, but the octave above it has a frequency of 880 Hz (2/1 of 440); a fifth above has a frequency of 660 Hz (3/2 of 440), and so on for other notes in the scale.
In last Sunday’s article, I had mentioned the ‘golden proportion’ or phi, which underpins the proportions of the Parthenon temple in the Acropolis in Athens, Greece. This ‘golden ratio’ (also called the ‘golden section’, ‘golden mean’ or the ‘divine proportion’) of 1:1618 or 0.618 has influenced composition in painting and photography, prompting the notion of dividing a canvas into thirds vertically and horizontally, and to position a subject of interest ‘about one-third’ of the way across instead of in the centre.
This ‘golden ratio’ can be obtained by dividing a Fibonacci number (in the higher reaches, not the first few) by its immediate predecessor. The quotient approximates phi (φ). Thus 987/610= 1.61803, and its inverse is 0.618.
The climax or high point of many songs and other compositions is often found at the ‘phi’ (φ) point (61.8 per cent) of the work. We have seen this to be true in the first movement of
S. Bach’s G minor sonata for solo violin.
In many compositions in sonata form, the addition of a coda causes the recapitulation (the return of the original idea that started the work) to begin at the 61.8 per cent point.
The legendary violin maker Antonio Stradivari seemed to be aware of the ‘golden section’ and used it in the placement of the f-holes on his violins. The proportions of the violin conform to the ratios of ‘phi’ (φ). The spiral of a violin scroll also obeys the Fibonacci progression.
Isn’t it amazing, how the visual and aural world, indeed nature itself can all be unified by the same mathematical sequence?[NT]
Steinway & Sons, manufacturer of the world’s finest pianos, has unveiled the company’s 600,000th piano, stunningly designed by master artisan, Frank Pollaro. Handcrafted using natural Macassar ebony, the end result is a feat of artistry, engineering and precision that celebrates this milestone for Steinway & Sons and demonstrates the company’s ongoing commitment to uncompromising craftsmanship.
Named “The Fibonacci,” the piano’s veneer features the iconic Fibonacci spiral made entirely from six individual logs of Macassar Ebony, creating a fluid design that represents the geometric harmony found in nature. The lines of The Fibonacci spiral on the top of the piano’s lid are projected down to its unique curved base. Synthetic ivory inlay adds a breathtaking effect to the design, which also features unique patinated bronze details. In the end, over 6,000 hours of work over a four-year period were devoted to the creation of The Fibonacci, from design to finish. The superior craftsmanship of the piano’s exterior is matched only by the unparalleled craftsmanship that is at the very core of all Steinway & Sons pianos.
According to Frank Pollaro, “Designing Steinway & Sons’ 600,000th piano was an honor and a challenge. To me, knowing that this piano would become part of history meant that it had to be more than just a beautiful design, but also needed to visually convey a deeper message.” Pollaro added, “As I considered the number 600,000, the Fibonacci spiral came to mind. The way in which it continues to grow but stay true to its form is very much like Steinway & Sons over these many years. Combining the universal languages of music and mathematics suddenly made perfect sense.”
“Steinway & Sons has a long tradition of world-class craftsmanship, so as we began planning the 600,000th piano, it quickly became apparent that Frank Pollaro was the artist we needed for creative design and perfect execution. His ability to create unforgettable images through woodwork demonstrates artistry at the highest level, something that spoke to the very core of what this company is all about,” stated Darren Marshall, Chief Marketing Officer of Steinway & Sons. Adding, “The Fibonacci spiral is a representation of perfect proportions and natural beauty. Without a doubt, Frank captured those qualities in this piano, creating a work of art for the eyes and the ears.”
The Fibonacci is destined to become an important piece of cultural history, taking its place of honor amongst previous milestone models that the company has created. The 100,000th was originally given to the United States White House and is now part of the permanent collection at the Smithsonian Institute in Washington D.C., while the 300,000 piano currently resides in the East Room of the White House.
In April The Fibonacci was previewed during a special VIP reception at Steinway & Sons’ new showroom in Beverly Hills, where the internationally celebrated Steinway Artist, Lang Lang, had the honor of being the first artist to perform on the piano. This June The Fibonacci will travel to the United Kingdom, where it will be showcased at the 2015 Masterpiece London art fair.
The Fibonacci is a Steinway & Sons Model D piano, nine foot concert grand, priced at $2.4 million. In addition to the original 600,000th version, Steinway & Sons will create up to six exclusive, limited edition Model B pianos (6’10.5″) inspired by the same design.
Renowned pianist and conductor Daniel Barenboim has unveiled a new type of piano, which he says is a “sound alternative” to the standard concert grand piano that has not undergone much change over a century.
Barenboim, 72, launched the instrument at the Royal Festival Hall here on Tuesday, in advance of his Schubert recital series.
Declaring the new piano a “sound alternative”, Barenboim said: “I’ve fallen in love with it and I want to spend as much time with it as possible.”
The exterior of the new piano looks much the same as any other modern concert grand piano, but inside, there are some dramatic differences, The Guardian reported.
Designed by the Belgian instrument-maker Chris Maene, the Barenboim has straight parallel strings instead of the diagonal-crossed ones of a contemporary piano. The wooden soundboard veins go in different directions. The bridges, ribs and bracings are specially designed and the hammers and strings have been repositioned.
Barenboim, currently heading Berlin’s flagship opera house, the State Opera, said he intended to perform the entire series on the new piano.
Modern pianos have become highly standardised, with few changes to their fundamental design over the past 100 years.
They are largely cross-strung, with the bass strings crossing over the middle and treble strings in an “X” pattern, allowing the sound to be concentrated on the centre of the soundboard.
He developed his idea with Belgian instrument maker Chris Maene, with support from Steinway & Sons.
As well as the straight strings, the Barenboim-Maene piano features a double bridge and horizontal soundboard veins.
According to a press release, the piano “combines the touch, stability, and power of a modern piano with the transparent sound quality and distinguishable colour registers of more historic instruments”.
Pianist Gwendolyn Mok, who plays an 1875 straight-strung Erard piano, has said that such instruments possess superior clarity.
“If you look inside your own piano, you will notice that the strings are all crossing each other,” she told the San Francisco Examiner in 2013.
“With the straight strung piano you get distinct registral differences – almost like listening to a choir where you have the bass, tenor, alto, and soprano voices.
“It is very clear and there is no blending or homogenizing of the sound. It therefore gives you huge opportunities in experimenting with colour.”
The concert piano, known in classical music circles as CD 503, was chosen specifically for Horowitz and presented in 1941. It was in his home until it was shipped to Russia when he made his triumphant return to the homeland he left in the 1920s.
Without Horowitz, the piano has traveled to from Fort Worth to Philadelphia and Florence, Ky. It’s made stops in London, Vancouver, Kansas City, Pensacola, Fla., Cleveland, Berlin and scores of other cities, large and small. There is no official estimate of how many individuals have played it, only a guess of “thousands.”
“It’s scheduled to be in our Chicago studios for just six weeks,” said Rhapsody Snyder, a Steinway employee and manager of this portion of the tour. “I’m not sure where it goes next, but don’t worry: It weighs between 700 and 800 pounds, but we move pianos every day.”
It is tuned for every performance, but there are standing orders that the piano’s “voice” will never be altered. It sounds today as it sounded when Horowitz played it.
THE BLACK AND white keys move so fast it’s hard to tell if Jenny Lin is even touching them. Lin, a classical pianist known for virtuosic speed, is sitting at a grand piano in Steinway’s New York offices, as the rest of the room listens intently, focused on the keyboard.
No, she’s definitely not touching the keys. Not this time. Minutes earlier, Lin played a hyper-speed arrangement of George Gershwin’s “I’ve Got Rhythm.” The same song is playing now, except this time Lin hands are on her lap. It’s uncanny, really: The exact same keys are pressed, the exact same trills are heard, the same dynamics are present. It’s a little magical—or “almost scary” as Lin puts it—as though you’re witnessing a prodigious ghost mimic her every move.
It’s not a ghost, of course. It’s technology. Which, considering Steinway’s old-school legacy, is nearly as unlikely an explanation as a poltergeist. Lin is demonstrating the Spirio, Steinway’s newest and first self-playing piano.
When you buy a Spirio—not you, necessarily; they run upwards of $110,000—it comes with an iPad loaded with a Spotify-like app. This app communicates with the piano via Bluetooth, prompting the piano to play any one of the 1,700 songs recorded specifically for the instrument. New songs will sync every week. By itself, an iPad-controlled piano is nifty, if not exactly a technological marvel. What makes Spirio different is that it can play songs with an unprecedented level of accuracy and nuance.
The thought-provoking talk on February 10th was given by Keith Pascoe, second violinist of the Vanbrugh Quartet, in connection with tomorrow night’s violin and piano recital by Ray Chen and Julien Quentin. Pascoe came up with a great title, David and Goliath, The Ballet of Unequals: A Stradivari and Model D Steinway Recital. Using videos from YouTube as illustrations (which unfortunately allowed in snippets of a couple of unwanted advertisements), Pascoe began at the beginning, with the emergence of the piano and violin as instruments in their own right, and traced some of the changes they have both undergone in the centuries since.
The piano has become bigger, stronger and louder. Not only were extra notes added to the keyboard, but the early wooden frames were replaced with cast iron. The violin may not have grown externally, but the shape of the body was remoulded, the neck and fingerboard realigned, and internal buttressing extended, all with the intention of producing greater sound.
What composers did with the combination of violin and piano – and before that, violin and harpsichord – changed too. In the typical baroque violin sonata, the violin was to the fore. In the classical era, the roles were reversed, although this reversal has long been dishonoured by performers. And in the 19th century, the balance as we know it today began to take hold. That balance usually presents the two performers in a master-servant relationship, the violinist usually the boss whose bidding is carried out by the pianist.
Yury Feygin, owner of Amadeus Piano, shows off a Steinway piano on display at his business in Stamford, Conn., on Wednesday, Feb. 4, 2015. The piano company mainly deals with tuning, repairs, moving, storage, restoration and antique piano sales with locations in Westport and Long Island, NY.Photo: Jason Rearick
Yury Feygin likes playing with pianos — so much, in fact, that he occasionally forgets to eat and sleep.
Like his father, Mikhail, and grandfather, Semyon, Feygin is an expert at restoring, tuning and repairing antique pianos.
Feygin and his workers have built a first-of-its-kind double-decker storage system at their Lenox Avenue warehouse. They have stashed dozens of pianos in the racks, legs removed, filed side-by-side like massive dominos as they await restoration.
“Getting pianos off the ground isn’t a comfortable thing — you’ve got to worry about it falling when you’re handling it, but we have it down to a science,” said Feygin. “People were saying, my dad was saying, `Don’t do this, let me store your stuff.'”
MaryO'Studio 