He is launching a piano that combines the power of modern instruments with the transparency of the kind that Liszt played on (coincidentally, I had just contemplated the same topic in a Standpoint essay). Here’s the press release:

Daniel Barenboim unveiled a ground-breaking new piano at a special event at London’s Royal Festival Hall today (12 noon, 26 May, 2015), in advance of his Schubert recital series there.

Conceived and commissioned by Barenboim himself, the Barenboim-Maene Concert Grand piano was developed and built by esteemed Belgian instrument maker Chris Maene, with support from Steinway & Sons.

The new Barenboim-Maene piano combines the touch, stability, and power of a modern piano with the transparent sound quality and distinguishable colour registers of more historic instruments. While on the outside it does not differ significantly in looks from a modern concert grand, most of its components – including the braces, soundboard, cast-iron frame, bass strings, keyboard and action – have been specially-designed and tailor made, and the positioning of others, such as the hammers and strings, is radically different.

Barenboim was inspired to create a new piano after playing Franz Liszt’s restored grand piano during a trip to Siena in September 2011. Struck by the vital differences in sound of an instrument constructed with straight, parallel strings rather than the diagonal crossed ones of a contemporary instrument, he set out to create a brand new instrument that combines the best of the old and the new and offers a real alternative for pianists and music-lovers in the 21^st century.

Barenboim discussed his idea with Steinway & Sons who introduced him to Chris Maene, who had also wanted to create a brand new instrument inspired by the past. The two maestri were able to combine their respective musical and technical expertise to begin work on their shared vision. Just 15 months ago, Barenboim’s personal technician Michel Brandjes tested several 19^th-century historic grand pianos from Chris Maene’s collection and some of the remarkable replicas made by him. His findings and reflections on the sound and technical aspects of the instruments were discussed with Barenboim who then commissioned Maene to work a detailed concept for the new instrument which was then developed, constructed, tested and revealed today.

Daniel Barenboim says:

“The transparency and tonal characteristics of the traditional straight-strung instruments is so different from the homogenous tone produced by the modern piano across its entire range. The clearly distinguishable voices and colour across its registers of Liszt’s piano inspired me to explore the possibility of combining these qualities with the power, looks, evenness of touch, stability of tuning and other technical advantages of the modern Steinway. I am so delighted to have worked with Chris Maene, who had the same dream and I must pay tribute to his incredible technical expertise and his deep respect for both tradition and innovation. I must also thank Steinway & Sons, for bringing us together and for delivering key components for our new instrument, thus enabling a perfect match of the traditional qualities and modern advantages.”

Chris Maene says:

“All my life I have been building replicas of legendary historic instruments. But for many years I have also been dreaming of building a new type of concert grand. It has always surprised me how the fantastic and unique sound diversity of the grand pianos of the 19th century disappeared. By the end of the 19th century many piano builders tried to copy the success of Steinway & Sons. In this process, they all ignored the straight-strung grand pianos with their unique sound characteristics. As a result, the 20th century offered us very similar instruments in regards of construction and sound. Therefore it has never been my goal to build another copy of a Steinway, but rather to make a different instrument in which I could incorporate all my expertise about building historic instruments. It has been a true honour to be able to work with Maestro Daniel Barenboim. I hold the Maestro in very high regard and was delighted to discover our mutual interest in straight-strung pianos. His input, confidence and order made it possible to build this new instrument: a concert grand for the 21st century. For me it is truly a dream come true.”

Slipped Disc editorial:

It has taken the BBC 14 months to replace Roger Wright.

That’s about 10 minutes to shoehorn Alan Davey into his role as Controller of Radio 3 – no other candidate received a second interview in a rigged process – and more than a year to find a new head of BBC Proms, a role which Edward Blakeman has deputised capably e new Proms chief,under exacting circumstances.

Davey and the new Proms chief David Pickard will fill Wright’s boots. Blakeman will continue to hold the fort until Pickard, an outsider, learns the ropes.

This is how Tony Hall’s BBC spends the licence fee: more chiefs, fewer Indians.

In a decidedly left-field appointment, the BBC have named David Pickard, general director of Glyndebourne Festival Opera, as the new controller of BBC Proms. Pickard, 55, used to run a period instrument orchestra before he went to Gly. He’s capable, personable, adequate to the task, clued in to the right networks. He comes from outside the BBC loop but he won’t make waves.

Press release follows:

UPDATE: Commentary here.

David Pickard has been appointed Director of the BBC Proms, it was announced today.

David, 55, is currently General Director at Glyndebourne and will take up his new role later this year, reporting to Alan Davey, Controller of BBC Radio 3.

Edward Blakeman, Director, BBC Proms 2015, will continue to lead the festival throughout this year’s season and ahead of David’s arrival.

Helen Boaden, Director of BBC Radio, says: “David has an outstanding track record in bringing new audiences to classical music, as well as a background in both orchestral and operatic music. I am absolutely delighted he will be working with Alan to build on the success of the BBC Proms. I would also like thank Edward Blakeman for leading the Proms with skill and flair as Director, BBC Proms 2015, and on delivering another excellent programme this year.”

Alan Davey says: “David comes from a background of musical excellence and exploration, and will bring a whole host of fresh ideas to help us ensure the greatest classical music festival in the world continues to provide the place for people to discover and rediscover the best classical music. His achievements at Glyndebourne have included the discovery of exciting new artistic talent and the establishment of a range of new initiatives to bring opera to wider audiences through Glyndebourne’s touring, education and digital activities.

“I would like to thank Edward Blakeman for his work bringing us this year’s season – one of huge musical depth which is proving to be a hit with audiences. He has done a superb job and deserves his place in the spotlight as the season takes us on the fascinating twists and turns we expect from a fantastic Proms season.”

David Pickard says: “I am honoured to be asked to take up the role of Director, BBC Proms, and to follow in the line of such distinguished predecessors. After 14 wonderful years at Glyndebourne, I count myself extremely fortunate to have the opportunity to lead another of this country’s most exciting arts organisations. Like so many people, my interest in classical music was inspired by visits to the Proms as a teenager and it has been my privilege to play a role as a contributor for the past 20 years, firstly with the Orchestra of the Age of Enlightenment and more recently with the annual Glyndebourne Prom. I look forward now to building on the founding principles of the Proms – to bring world-class classical music to the widest possible audience.”

We have been informed of the death of Dietrich Hahn, long-serving principal clarinet of the Hamburg Philharmonic Orchestra and professor at the Conservatory. His pupils are numerous and far-flung. Professor Hahn was 84.

Who knew the secretary was a composer? He’s my album of the week on sinfinimusic.com.

Very few great composers have been exposed by a private secretary, perhaps because few could afford the luxury of employing one. In Handel’s case we know about his secretary chiefly because the man’s stepson, a churchman known as the Rev. William Coxe, published in 1799 a revealing set of Anecdotes of George Frederick Handel and John Christopher Smith, in which the composer comes over as a gruff brute and the secretary as ‘sincere, benevolent and humane’.

Click here to read more.