Brodmann’s are what are considered ‘high-end’ pianos but at prices that are not extreme. Of supreme importance to Brodmann, today is the upholding of their historic reputation for producing pianos of quality that are also true to the Viennese ideals. The good news is that, unlike many piano manufacturers, Brodmann has continued with the name, into the present day. The Brodmann is a beautiful instrument spanning just five and a half octaves including knee levers control dampers. Amongst this collection is a Brodmann Grand Piano from 1800-1805 that has been fully restored alongside two formidable-looking Bösendorfer pianos. The ‘Frederick Collection’ of antique pianos in Ashburnham, Massachusetts US, boasts an impressive range of instruments. Of the original Brodmann pianos, there is still quite a number to discover but it is unlikely that you will be able to purchase such an instrument without considerable funds. I wonder how this affected Weber’s approach to composition? Beethoven is also thought to have been a player and admirer of Brodmann’s work, and one can imagine what lofty expectations Beethoven must have had from any maker of pianos.
One element of the Brodmann pianos that Weber allegedly favored was the light action and the slightly narrower keywork. Bösendorfer owes much to Brodmann for this benchmark of quality.
The attention to detail together with the groundbreaking technical innovations that Brodmann developed, made the Brodmann Grand Pianos of pedigree and prestige. These original Brodmann pianos were remarkable instruments. As a mark of his utmost respect towards Brodmann, Bösendorfer printed ‘Brodmann’s Pupil’ on all of the plaques he attached to his pianos. He learned his manufacturing skills from Brodmann and in 1828 took over the business. Bösendorfer was a student of Brodmann and reportedly one of the best. It is perhaps not so well understood that it was Brodmann who can claim at least some of the credit for the immense success that Bösendorfer enjoyed and indeed continues to enjoy posthumously. The name of Ignaz Bösendorfer is well-known among the community of pianists today. This reputation has held fast.īrodmann’s story continues with a fascinating twist of fate. It was not long before Brodmann had established a reputation for designing and handcrafting some of the best grand pianos available in Europe. Brodmann made his own improvements to the pianos he went on to manufacture including the ‘triple-layered soundboard that dates from around 1829. With this comprehensive education and experience behind him, Brodmann was fully equipped to pursue his ambitions to become one of the best piano makers in Vienna.īrodmann was not a gentleman who was content to mimic or copy Hofmann’s work.
Like many young aspiring piano manufacturers, Brodmann enjoyed the opportunity to study with one of the most respected piano makers in Vienna, Ferdinand Hofmann. With the rise of public concerts funded by the ruling classes together with the demand from composers for better and better pianos, Brodmann arrived at a pivotal point in the history of the piano. He came into the world in 1771 in the vibrant city of Vienna right in the middle of the Classical Era. Joseph Brodmann was born into one of the most exhilarating times in musical history. If this is not enough to fire your interest in this brand of piano, I’m not sure what will. Carl Maria von Weber is claimed, according to records of a conversation with his son, to have composed the well-known opera ‘Die Freischutz’ on a Brodmann fortepiano that he purchased from the manufacturer around 1813.
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