I respect Maestro Badura-Skoda’s opinion immensely, and Boesendorfer does indeed have a sweet, singing sound. But overall I still believe nothing beats Steinway (either Hamburg or New York) for brilliance, depth and richness of tone, as well as beautiful singing sound, making it ideal for any style or period of music.
I come from a musical family and while a young teenager had the chance to play a Bosendorfer...at of all places, a Steinway showroom. Go figure, but I've never forgotten how I felt playing the Charlie Brown theme song on it. In college I played and practiced on a Steinway. Now I'm blessed to practice on a wonderful Yamaha. The journey continues, Amen???
Excellent video. One day I walked into Al Oliver pianos in prestigious Fairfield Connecticut and the owner called me over to the only Bosendorfer grand he had and said “Come see what it’s like to play a quarter million dollar piano.”
I sat three feet away from this guy and watched him play Schubert sonatas on a Bosnedorfer a few years ago. He said there and here that there are 300 different ways to press a piano key. I'm still working on one and two.
It is so good to hear a REAL pianist demonstrating what this instrument can do, as opposed to some TH-camrs who really can’t play the piano, except in an extremely rudimentary manner.
Thanks for sharing, your work is very good. You have an excellent channel. I really like what you do. Congratulations and many successes, a friend Eliab.
Un buen instrumento ayuda siempre al músico; los instrumentos excepcionales no. Un instrumento excepcional se come vivo al intérprete mediocre, lo domina a éste y no al contrario. Sólo para grandes intérpretes. De Badura-Skoda para arriba!
I'm afraid he is totally wrong in his claim about this piano being totally "balanced" in all its registers. In fact, one of the main attributes of the Bosendorfer, is that the 3 registers are quite distinct in their tonal characteristics. This allows for a more nuanced and varied execution of works, particularly of the Romantic period, which require greater contrast than earlier classical or baroque works. For confirmation of this point - please listen to Andras Schiff discussing the sublime attributes of the Bosendorfer.
bad instruments and singers too have an overtone spectrum like fist, a strong, loud and muddy tone. The spectrum of overtones of a good instrument, player and singer is like an open hand 🖐 they are separated clear and warm. Listen to the young Walter Berry singing Bach, a forgotten art.
To me, Bosendorfers sound kind of dull, reminscently of fortepianos; like there is not the same partnership of metallic sound with wood that you get in a Steinway. I never thought about it till now, but it seems to me each brand has this wood--metal balance a bit different. In Bosendorfer, I feel that the metal in the timbre (from the strings and the cast iron plate) is completely subordinate to the wood of the soundboard. In Steinway, I feel that the metal of the strings and the cast iron (the bell-like quality) supply more of the timbre, so neither the wood nor the metal dominates: it's a perfect partnership.
@@Maisiewuppp I definitely respect that: you seem to have a good grasp of the differences. Am I right that Bosendorfer is “woodier” (in the direction of string - violin, viola, cello - instruments, than Steinway (brassier)? If this is true, it would make sense that it demands more of the pianist, allowing him/her to “work” that woodier timbre to different effects, range of sound. I’ve wondered if I’d imagined pianos as being on a continuum from more metallic (brass section) to woodier (strings), Steinway being more toward the brass/metallic (or rather, the middle) than Bosendorfer. Thanks for your reply!
All the pianos sound practically the same. Scientific experiments have shown that the sound depends much more on the room/hall where the piano is located. Put the same piano in a different room and you wouldn't recognise it. It's all a myth in the minds of pianists. I'm a professional pianist myself and I reject such mystification. The pianos are ancient levers of keys and hammers that haven't changed since 1880s. If you blind-fold pianists nobody can tell a Yamaha from a Bösendorfer.
@Miha Haas Not only that, but people can't actually tell one performance from another unless there are pretty significant telltales. Cf. the fascinating case of Joyce Hatto, whose husband passed off recordings by others as hers. Many critics were fooled, and went on an on about the special qualities of her interpretations. And he didn't even always steal from the same artist, but a bunch of different ones. It was years before the con came to light. One music producer, Tom Deacon, was so fooled that he praised a recording issued under her name that he had criticized when the same recording had appeared under the name of the actual pianist. He was no small-time producer, either: he produced the massive 200-CD set "Great Pianists of the 20th Century" for Phillips that was sponsored by Steinway & Sons.
I respect Maestro Badura-Skoda’s opinion immensely, and Boesendorfer does indeed have a sweet, singing sound. But overall I still believe nothing beats Steinway (either Hamburg or New York) for brilliance, depth and richness of tone, as well as beautiful singing sound, making it ideal for any style or period of music.
I come from a musical family and while a young teenager had the chance to play a Bosendorfer...at of all places, a Steinway showroom. Go figure, but I've never forgotten how I felt playing the Charlie Brown theme song on it. In college I played and practiced on a Steinway. Now I'm blessed to practice on a wonderful Yamaha. The journey continues, Amen???
Steinway is predictable and sometimes penetrating and can grate over time.
Excellent video. One day I walked into Al Oliver pianos in prestigious Fairfield Connecticut and the owner called me over to the only Bosendorfer grand he had and said “Come see what it’s like to play a quarter million dollar piano.”
One of the greatest Pianist playing one of the greatest Piano - Bosendorfer.
I sat three feet away from this guy and watched him play Schubert sonatas on a Bosnedorfer a few years ago. He said there and here that there are 300 different ways to press a piano key. I'm still working on one and two.
A marvelous scholar, pianist and person
4:32 The Schubert sounds so good!
I have always preferred the Bosendorfer over all pianos, including Steinway. It is the magnificent bass richness that charms me most.
Ich auch.
It is so good to hear a REAL pianist demonstrating what this instrument can do, as opposed to some TH-camrs who really can’t play the piano, except in an extremely rudimentary manner.
Could not agree more!
"And that wasn't even the climax." LOL!
Crosses arms emphatically...so funny!
"edler Klang" does not mean "special sound", it means "noble sound"
Thanks for sharing, your work is very good. You have an excellent channel. I really like what you do. Congratulations and many successes, a friend Eliab.
great artist,
Un buen instrumento ayuda siempre al músico; los instrumentos excepcionales no. Un instrumento excepcional se come vivo al intérprete mediocre, lo domina a éste y no al contrario. Sólo para grandes intérpretes. De Badura-Skoda para arriba!
I hope I will get the opportunity to play with a Bosendorfer piano someday.
¡Claro que sí maesto! Y no como todos esos horteras que teclean ciertas marcas que todos sabemos.
Fantastic
Mozart is pleased you chose to play an excerpt from the A minor rondo.
could you tell me which rondo it is exactely?
@@matthieuchapeau K. 511
In some ways it's the next best thing to a fortepiano for the Viennese Classical repertoire.
RIP maestro
Bösendorfer is the best!
Bösendorfer or nothing! No, wait, Fazioli.
schöne Tonfarbe
Maestro Badua Skoda seems to have a strong penchant towards B flat...
Und Antonio De Curtis "Toto"
Edgar
anyone know what piece he's playing at 5:20 ?
Intermezzo Op. 119 No. 2 middle section.
Whats the piece paul skoda played? Its short mozart piece
A minor rondo K 511
Bach Partita 1 :)
I'm afraid he is totally wrong in his claim about this piano being totally "balanced" in all its registers. In fact, one of the main attributes of the Bosendorfer, is that the 3 registers are quite distinct in their tonal characteristics. This allows for a more nuanced and varied execution of works, particularly of the Romantic period, which require greater contrast than earlier classical or baroque works. For confirmation of this point - please listen to Andras Schiff discussing the sublime attributes of the Bosendorfer.
bad instruments and singers too have an overtone spectrum like fist, a strong, loud and muddy tone.
The spectrum of overtones of a good instrument, player and singer is like an open hand 🖐 they are separated clear and warm.
Listen to the young Walter Berry singing Bach, a forgotten art.
To me, Bosendorfers sound kind of dull, reminscently of fortepianos; like there is not the same partnership of metallic sound with wood that you get in a Steinway. I never thought about it till now, but it seems to me each brand has this wood--metal balance a bit different. In Bosendorfer, I feel that the metal in the timbre (from the strings and the cast iron plate) is completely subordinate to the wood of the soundboard. In Steinway, I feel that the metal of the strings and the cast iron (the bell-like quality) supply more of the timbre, so neither the wood nor the metal dominates: it's a perfect partnership.
But predictable and too penetrating sometimes. Prefer the subtlety and complexity of Bösendorfer, Bechstein or Blüthner.
@@Maisiewuppp I definitely respect that: you seem to have a good grasp of the differences. Am I right that Bosendorfer is “woodier” (in the direction of string - violin, viola, cello - instruments, than Steinway (brassier)? If this is true, it would make sense that it demands more of the pianist, allowing him/her to “work” that woodier timbre to different effects, range of sound. I’ve wondered if I’d imagined pianos as being on a continuum from more metallic (brass section) to woodier (strings), Steinway being more toward the brass/metallic (or rather, the middle) than Bosendorfer. Thanks for your reply!
K. I still like the sound of Steinway better.
I still don't understand why people post such stupid comments.
@@stephenraatz2598 stupid? guess you disagree. no need to be a 3rd-grade name caller
All the pianos sound practically the same. Scientific experiments have shown that the sound depends much more on the room/hall where the piano is located. Put the same piano in a different room and you wouldn't recognise it. It's all a myth in the minds of pianists. I'm a professional pianist myself and I reject such mystification. The pianos are ancient levers of keys and hammers that haven't changed since 1880s. If you blind-fold pianists nobody can tell a Yamaha from a Bösendorfer.
You are for sure NOT a professional pianist! Maybe you can play Happy birthday on a Roland keyboard 🎶🎶🥳
@Miha Haas Not only that, but people can't actually tell one performance from another unless there are pretty significant telltales. Cf. the fascinating case of Joyce Hatto, whose husband passed off recordings by others as hers. Many critics were fooled, and went on an on about the special qualities of her interpretations. And he didn't even always steal from the same artist, but a bunch of different ones. It was years before the con came to light. One music producer, Tom Deacon, was so fooled that he praised a recording issued under her name that he had criticized when the same recording had appeared under the name of the actual pianist. He was no small-time producer, either: he produced the massive 200-CD set "Great Pianists of the 20th Century" for Phillips that was sponsored by Steinway & Sons.
@@mikethebeginner Thank you Mike for bringing that up, it is mindblowing how far the false beliefs can go!