In an interesting article published in the Chicago Tribune (http://www.chicagotribune.com/features/chi-piano-0430apr30,1,140163.story)
Tom Hundley succinctly describes the parlous state of the European piano manufacturing industry.
“Today fewer than 10 European manufacturers survive. With the exception of mighty Steinway & Sons, which produces pianos in Europe and America, most of the survivors are in serious danger of extinction. The endangered list includes Pleyel, the famous Parisian firm that once made pianos for Frederic Chopin; C. Bechstein, which rivaled Steinway for supremacy in European concert halls until it fell from favor because of the Bechstein family's close ties to Adolf Hitler; Boesendorfer, the iconic Viennese manufacturer that last year was taken over by Yamaha; and Bluthner, one of two companies that still make pianos in Leipzig. The British piano industry has completely died. It's almost dead in France. There's a little bit left in Austria, and here in Germany, it's slowly reducing”
The reason lies with competition, in particular from Asia.
“Of the 480,000 pianos produced worldwide last year, 430,000 were made in Asia. China has rapidly emerged as the major player, producing 375,000 instruments last year. In terms of craftsmanship and tonal quality, mass-produced Chinese pianos do not come close to matching their handmade European counterparts, but they are vastly cheaper. A Chinese grand piano can cost less than $10,000; Bluthner's least expensive grand goes for about $64,000. But Bluthner also is manufacturing less magnificent and far less expensive pianos in China under the Irmler nameplate, a Leipzig firm that went out of business in the 1930s.
‘A Chinese sausage in a German wrapper,’ sniffed Sebastian Staron, a piano restorer who is happiest when he discovers a neglected 1930s Bluthner or Boesendorfer in somebody's basement.”
The whole article is eye-opening, but what is of additional interest are two comments by people from, of all places, Australia.
“Design is the key. Most pianos today are mostly the same as 19th century piano with only some modern techniques and modifications added. We need to look forward into the future if we want the piano industry to survive. Sound, touch, range and even look. Just have a look at what Mr. Stuart is doing in Australia.”
“I think Mr. (name withheld) has a very valid point! As he intimates, the so called German piano industry is only a fragment of the instrument's 300 year history. In reality, what is being witnessed is the decline in the aesthetics of the Mechanical Age and the domination of European culture in the new global economy.
If the acoustic piano is to survive beyond being a European museum piece, it will have to adopt a new voice and persona that more aptly reflects the impulse of composition and social aesthetics of the here and now. The 20th century could easily be dubbed the century of the market economy and the reproduction of proven form. Surely, it's high time for a good clear out. The makers, musicians and events mentioned by Tom Hundley date back over 150 years. Get over it Tom and all you musty old pianophiles, move into the 21st century with your dignity intact before it's too late!
No wonder arts organisations peddling this worn out mantra to the younger generations are finding it increasingly difficult to get through. Quite simply, why should they be interested when what they want is to explore their own creativity, not that of their great, great grandfathers.”
The European piano industry is suffering from a lack of innovation, and hence a lack of relevance in today’s modern world. If you look at manufacturers of woodwind and brass instruments, there is continuous investment in new manufacturing techniques and design – not just more efficient or cheaper – but better instruments for both the student and demanding professional. Why can’t the piano industry do this?
• The Pleyel website has a quote from Chopin: “When I feel the music flowing and I am strong enough to strike my own sound, I must have a Pleyel”
• On the Bechstein webisite: “Bechstein is the Stradivarius of Pianos” – Pablo de Sarasate (who was a violinist…)
Piano manufacturers advertising 21st century instruments using 19th century musicians playing 19th century instruments. Can you imagine Ford still advertising the Model T? No wonder these companies are going down the tube.
The article continues
“Pleyel, for example, has decided to market its instruments as luxury baubles linked with famous-name artists and designers who have been commissioned to jazz up the traditional cabinetry of the classic concert grand. Pleyel Chairman Arnaud Marion has said he wants to make the company the Hermes of piano manufacturing, referring to the French purveyor of expensive silk scarves and other fashion accessories. We can't compete with the Chinese on cost, so we compete on the design and craftsmanship," he said. Pleyel's high-end designer objets d'art will cost more than $140,000.”
So they will take a traditional piano (promoted by Chopin), pretty it up, and try to sell it. Smart thinking, Moriarty.
I think not …
Where’s Rosemary Brown when you need her?