End of May, 2017: At the Bösendorfer manufactory in Wiener Neustadt, seven instruments of the most recently crafted Bösendorfer Concert Grand 280VC Vienna Concert series are waiting to be chosen for the Musikverein Vienna.

The careful selection of the new Concert Grands 280VC is done by none less than the internationally renowned Russian pianist Daniil Trifonov. He followed the invitation of Dr. Angyan, director of the Viennese institution, and his team to select two instruments for the stages of the Musikverein Vienna. There have been the pre-set criteria that one of the two chosen instruments has to be a brilliant partner in concert, even when a big orchestra is the musical counterpart, the other enriching chamber music, gently supporting the fine nuances of an ensemble’s play. Together those instruments are accommodating the needs of today’s artists and genres such as vocal recitals in the smaller venues up to the piano concerti with full orchestra in the Golden Hall.

Both houses, the Musikverein Vienna and Bösendorfer, are bound by a long-standing tradition and friendship. Ludwig Bösendorfer himself was member of the “Gesellschaft der Musikfreunde” Vienna then, donating several instruments at its inauguration, supporting artists along their career path whenever he could. Entering the Bösendorfer Showroom Daniil Trifonov finds seven instruments, all different in character and voicing, meticulously prepared and ready to be chosen. However, as expected, it does not take long for the young genius to select two perfectly matched Concert Grands. Shortly after, two times 507 kg of resonating Viennese Sound are delivered to the Musikverein. One of the masterly-selected Concert Grands has to

immediately be prepared for the upcoming concert at the following day in the Great Hall of the Musikverein. Daniil Trifonov performs the G Major Piano Concerto by Maurice Ravel accompanied by the Orchestra of the Staatskapelle Dresden, conducted by Christian Thielemann. The pianist has made the brand-new Bösendorfer Concert Grand – based on the VC technology – shine at its first official day in concert - simply brilliant. With its unmistakable Bösendorfer Sound these instruments will both dedicate to the vivid resonance of the Golden Stage in Vienna. Make sure you will experience this fantastic concert environment yourself one day when being in Vienna.


Daniil Trifonov selecting one of the 2 Concert Grands at the Bösendorfer Showroom (c) Copyright Lepsi Foto 2017

Crafted by Hand, Selected by Play: Concert Grand 280VC


The ultimate concert sound for the next generation: the Vienna Concert manufacturing technology

A lot is new and has been reworked and optimised. One example is all parameters of the string scaling: the length, size, tensile force, division, alignment and positioning of the individual sections, the selection of the 1-, 2- and 3-course bass strings, proportion of the tensile force load between the bass, midrange and treble ranges, as well as strike lengths and strike line, and much more. Using computer-aided design software it is possible to visualise, calculate and formulate all processes optimally in terms of inharmonicity curves, load values and tensile strength distribution, in order to achieve a maximum of balance, stability and vibrational ability and oscillation period. In order to maximize the sonic potential in the treble range, we tested two variants in the first two prototypes—one variant

with and one without a duplex system near the string attachment behind the bridge. The results clearly spoke in favour of the duplex version: The bell-like sonic component and the sonic, dynamic shaping potential tipped the scales in favour of this version. Since the string scaling significantly determines the design of many parts, it was designed and adjusted in a forward-looking manner in consideration of all elements it affects, including the subframe construction, cast iron frame, keyboard, shape of the case, etc. The 280VC’s case construction was made traditionally as a typically Bösendorfer crossbeam construction. For reasons of sound, we use solid spruce and beech first and foremost. However, this case construction also contains several innovative elements that are only possible thanks to modern

 technology. The 3-dimensional construction method makes possible highly precise subsequent work on all wooden connections surrounding the case elements, case struts, as well as the crossblock and the keybed with unprecedented precision. This resulted in an enduringly stable and exceptionally solid foundation for further connection of subsequent elements. The bottom case design was made to form a closed unit, in contrast to earlier constructions. The case wall also traditionally consists of spruce tonewood in its core. The double beech inside and out are reinforced and stabilize the case wall. The sonic aspect of spruce tonewood as a core material remains entirely untouched in this process...