[CAUT] becoming an all Steinway School

[Paul T Williams]

We here at UNL have lots of Steinways.  We also have many Mason and 
Hamlins and Baldwins.  In the concert halls, we have 3 Steinway D's, an 
old Baldwin D, and a Yamaha C-3.  All are fine in their venues...Steinways 
for actual pianists and accompanyists, the Baldwin for chiors, etc, and 
the Yamaha for Jazz or for space saving needs.  We are not an all Steinway 
school and I'm not sure if in Richard West's era we were approached.  I 
have recently spoken up to look into Bluthner or Yamaha, Sauter, Shimmel, 
etc for a new concert grand the Director is hoping to get, and I got (not 
so politely) shut down for each suggestion.  I believe only one of the 
piano faculty is an actual Steinway artist, but they all like the 
Steinways best. The Hamburg D is the directors and piano faculty's choice 
for the new piano (whenever that can be funded!) 

I am in agreement on diversity as well.  At least the students have many 
brands to choose from in the practice rooms.  I purposely have regulated 
some heavy in touch, some lighter, some right on specs and the same with 
voicing (no specs for voicing  :>)  ).  I think if we were approached by 
Steinway, my two cents would be to decline the offer for the very reasons 
stated here and in previous observations...

Best,

Paul





"Michael Wathen" <michael.wathen at wapin.com> 
Sent by: caut-bounces at ptg.org
12/09/2007 10:33 PM
Please respond to
College and University Technicians <caut at ptg.org>


To
"College and University Technicians" <caut at ptg.org>
cc

Subject
Re: [CAUT] becoming an all Steinway School






Diversity is the message behind this all. Diversity helps the universe: 
wether it be populations within society, diversity of opinions, diversity 
of 
organic life, diversity of ideas and creativity, or diversity of 
instruments. With diversity we are insuring the future success of the 
acoustic piano, without it we are relegating good musicianship and 
enjoyment 
of acoustical piano music to a privleged (sp) few. Perhaps, this is what 
Steinway would perfer. Kudos to the faculty of ASU.

Sorry my spell check does not work.



----- Original Message ----- 
From: "Rick Florence" <Rick.Florence at asu.edu>
To: "College and University Technicians" <caut at ptg.org>
Sent: Sunday, December 09, 2007 8:53 PM
Subject: Re: [CAUT] becoming an all Steinway School


A few thoughts on becoming an All Steinway School.

ASU has been approached a number of times with the "offer" of becoming an 
All Steinway School.  We have rejected the idea each time.  I hope future 
administrators will do the same.   It was quite apparent from the most 
recent proposal, last Fall, that the only advantage is to Steinway.  The 
School does not receive a better price on the products. There is little 
chance to select pianos, as most schools convert over in a short period of 

time and there is not enough inventory from which to choose.  The Schools 
are expected to keep their inventory at 90% Steinway products, with all 
performance areas being exclusively Steinway, eliminating some incredible 
performance instruments.

We were told that Steinway works with schools to ensure proper maintenance 

schedules are followed.  I found this to be an absolute falsehood.  I 
contacted many of the All Steinway schools to get an idea of budgets and 
personnel.  I could find no appreciable difference between the All 
Steinway 
schools and other schools.  In fact I found many of the All-Steinway 
schools 
to be worse off in terms of a maintenance budget and staffing.  They all 
had 
their new pianos, yet few had a strategic repair or maintenance plan.

At the Steinway proposal evening Bruce Stevens asked me if ASU was 
interested in the prestige of being an All Steinway school.  I told him 
ASU's prestige comes from its program, faculty, and students, which 
includes 
our administration's support of piano upkeep.  In short, we have built our 

own reputation.  The only one to gain prestige from our becoming an All 
Steinway school is Steinway.

This does not mean that ASU does not appreciate Steinway pianos.  We have 
a 
large number of Steinway grands (45) and always will.  We also have three 
Steinway artists on our faculty.   We simply reject the idea that omitting 

other fine pianos from our inventory would make us a better school.  We 
feel 
it would do the opposite.  The following is an excerpt from my latest 
proposal to create an endowment fund for a perpetual purchase and 
maintenance program.   This proposal has been accepted by the faculty, the 

Dean and our Foundation.  We hope to begin raising funds this year.  I 
suppose I should thank Steinway for their part in this, as it was their 
latest visit that prompted the faculty and administration to accept my 
counter proposal of assembling/keeping an inventory of the finest pianos 
from around the world.


____
Exclusive Piano Brands


There seems to be a growing push in Academia for Schools of Music to 
become 
exclusive to a particular piano manufacturer.  Although this practice is a 

marketing coup for the particular manufacturer, we believe it is a 
disservice to both faculty and students.  We would not ask an artist to 
limit his or her works to only one medium.  Neither would we instruct our 
music students to perform the works of only one composer.  Why then would 
we 
limit our musical inquiry and performance to one brand of piano?

We appreciate and celebrate the diversity of musical artistry attainable 
when given the opportunity to select from a number of finely built pianos. 

We also better prepare our students to adapt to and create music with the 
wide variety of instruments they will encounter throughout their career.

In terms of quality control and product design, a close look at the 
different models available from all major manufacturers invariably shows a 

weakness at some point in each of their product lines.  If we limit 
ourselves to one brand, we commit ourselves to their weaknesses as well. 
It 
is a valuable tool to be able to combine the strengths of several 
distinguished manufacturers to best utilize our resources, and afford our 
students the best education possible.
____


BTW, I understand there ARE All Steinway schools in Europe.  They, of 
course, use the Hamburg Steinway - an apparent advantage of geography. 
According to the Steinway website they are:

City of Edinburgh School of Music, Edinburgh, Scotland

Hamburger Konservatorium, Hamburg, Germany

Vestjysk Musikkonservatoriums, Esbjerg, Denmark

Too bad. There are a lot of great pianos being built in very close 
proximity 
to these schools.

Rick


________________________
Rick Florence
Senior Piano Technician
Arizona State University
School of Music



-----Original Message-----
From: caut-bounces at ptg.org on behalf of Richard Brekne
Sent: Sun 12/9/2007 9:01 AM
To: caut at ptg.org
Subject: [CAUT]  becoming an all Steinway School


We have talked about becomming an all Steinway school... and brought it
up at a recent visit by the regional sales rep from Hamburg.  It is our
understanding that no such school exists in Europe... that this is an
American thing.  We are looking into the possibilities of establishing
the first such school here.  If we manage it.... all our non-Steinway
inventory will have to leave our ownership... including a rather ok CF
III that is 4 years old now.

All in all... for better and for worse... I'd have to say that the All
Steinway School stamp is one that is very very much worth the dark sides
of any such marriage  is bound to have.

Cheers
RicB


    hi folks
    I'd be interested to hear experiences from those
    techs. working at schools  that have become ''All
    Steinway''. Is it very restrictive on the purchase
    choice of instruments. What happened to existing
    inventory. Was administration and faculty  won over by
    becoming ''All Steinway''. How are the Boston pianos
    holding up etc etc..........




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