The horizontal design of grand pianos allows for optimum sound and tone control. Longer strings help produce a richer tone with more power in the bass. The action, or keyboard on a grand opposed to an upright works with gravity as opposed to horizontal springs to release the hammers. The design of the action allows for much quicker response, wider dynamic range and much easier control.
Popular in homes and studios, upright pianos are an excellent choice instrument as they take less room than a grand piano and are more affordable. Different models within brand makes have different features and uses. We have models appropriate for the beginner up to the advanced player. Allow us to guide you through the brands and models to find the right piano for you!
The NEW Boston UP-120S Performance Edition II is imbued with the classic Boston touch and tone and is optimized for any music room — at school or at home. Height: 47.5″
After extensive market research, Steinway & Sons has designed the Boston UP-120S PE-II, a new upright piano in the Boston line that fulfills the needs of serious students of piano and musicians of all ages, providing a wide range of tonal color and evenness of sound across the entire range of the keyboard.
The action and keyboard have been newly designed to maximize repetition and touch sensitivity, allowing the pianist to maximize the beautiful tonal color ranges of the piano. The UP-120S PE-II has among the largest back posts of any upright piano of its size.
Based on popular demand, the UP-120S PE-II is available in a high gloss Ebony Polish polyester finish, as well as a Walnut Satin lacquer finish.
Boston uprights offer the same standards of excellence which characterize all instruments designed by STEINWAY & SONS. A Boston upright will give you the same opportunities to express your musical skill as a grand.
In comparison to other pianos, the Boston has lower string tension. This reduced string tension allows for a larger, tapered soundboard, creating longer sustain, and more singing quality in the tone (as well as longer piano life). A wealth of other engineering enhancements, including optimal placement of ribs, braces, and bridges, also contribute to the Boston’s superior tone and greater stability.
Each Boston piano soundboard is crafted of Sitka spruce, long proven to be the most resonant material available. Boston soundboards are also precisely tapered, which allows them to vibrate more freely. In conjunction with a number of special technologies — unique patents of STEINWAY & SONS — the result is a powerful, sustained tone.
With the success of our recent Steinway trade-up event, we have new stock of excellent condition used pianos that were traded in. Take advantage of these maintained instruments, all that have been inspected by our trained in house piano technician. Clearance sale prices in effect until instruments are sold first come first served basis.
All used pianos have been inspected and serviced by our certified piano technician. Clearance sale prices in effect until instruments are sold first come first served basis.
Pianos are available for delivery immediately. Financing is available. Please submit form below and we’ll be in touch ASAP
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Yamaha M1A Yamaha C108 Yamaha U1 Yamaha U1 Yamaha U1 SOLD Yamaha GA1 Grand Piano Yamaha G2 Grand Piano Kawai 600 Grand Piano Baldwin L Artist Series Grand Piano Baldwin Hamilton 243 Piano Roland HP603 SOLD Roland HP603 SOLD Knabe WK118R Piano Essex EUP-123s SOLD Essex EUP-123e Essex EGP-173 SOLD
Each piano has been tuned, regulated and voiced as necessary. All pianos come with warranty.
Please contact us today to visit and test drive one of these before they’re gone!
Piano Centre 10460 170 street Edmonton, AB Tel. 780-484-3170
The 45” UP115M5 Advanced-Design Studio Upright is one of the best selling “studio” pianos in North America, due to the model’s impressive construction and affordable price. The UP115M5 features a braced toeblock attaching the legs to the frame of the piano. This provides strength and makes this piano easy to roll on its high quality caster wheels. On sale $4,988 MSRP $7,295
What’s included? • 10 Year parts and Labour Warranty • Delivery main floor within Edmonton • Tuning • Full preparation • Flat Top Bench
Piano Centre note: We have represented Pearl River made pianos since 2008 and can assure that quality control and consistent craftsmanship standards are held year after year. We have sold hundreds of these pianos – Please ask us for references from piano teachers, music schools, music conservatories and piano technicians.
More than 60 years of craftsmanship • The world’s largest, state-of-the-art factory • Affordably-priced with features of expensive pianos • Internationally certified for quality and environmental standards • Recommended world-wide by teachers, performers and technicians
If you’ve been thinking about purchasing the best digital piano on the market, your timing could not be better to buy! Enjoy 0% Financing with an easy 5 minute application and get access to the world leaders in Digital pianos. Enjoy the best sound, touch and technology in your home while paying for your investment on sale and at no interest! Offer ends Thursday October 31st, 2019. Call 780-484-3170 or e-mail email@example.com
Piano Students! Are you either enrolling or going back to piano lessons as the school season begins? Make sure that you have the right equipment – a quality acoustic or digital piano serves as the appropriate tool for best possible learning experience. Get the satisfaction of a properly balanced key touch and dynamic, rich tone.
If you’re just beginning to play, we have great options in digital and used pianos or if you’re ready to upgrade we have a vast selection of new & used performance grade instruments.
Enjoy Spectacular savings and Instant Rebates from $100 – $3,000. 0% Financing up to 36 months on select models*.
Monthly Payments starting at only $65.58 for our a new Roland F-140R Piano with $0 down OAC (Price of $1499 + GST / 24 months)!! Don’t wait, this offer won’t last long. you can e-mail firstname.lastname@example.org or text 780-716-2539
The HP603/HP603A is powered by the latest version of our acclaimed SuperNATURAL Piano Modeling technology, along with a unique keyboard that blends wood and molded materials for great feel and durability. With its sophisticated elegance, the classically styled HP603/HP603A will definitely make a big impact in your home!
Both the HP603 and HP603A feature built-in wireless Bluetooth® MIDI support for working with apps like Roland’s Piano Partner 2 and Piano Designer on your smartphone or tablet. The HP603A also includes Bluetooth audio support, allowing you to wirelessly stream music from your mobile device through the piano’s integrated sound system.
Features: • Uses the latest SuperNATURAL Piano Modeling technology instead of conventional sampling for a far richer, more expressive piano sound • Headphones 3D Ambience technology for natural, realistic sound when practicing with headphones • Authentic grand piano touch from the new PHA-50 Progressive Hammer Action with Escapement keyboard, which combines the appearance and feel of wood with the durability of modern materials • Connect your smartphone or tablet via built-in Bluetooth technology to enhance your piano experience with Piano Partner 2, Piano Designer, and other music apps • Stream music from your mobile device via Bluetooth audio and practice along with songs and instructional content through through the pianos speakers (HP603A only) • Also includes a large, versatile selection of non-piano sounds such as strings, brass, organ, and many others • 25 registrations for storing favorite sound setups, including layers and splits; registration groups can be backed up to a USB memory stick • Classically styled cabinet with impressive sound system and elegant design to suit a variety of locations
Specifications: • Piano Sound: SuperNATURAL Piano Modeling • Max. Polyphony: Piano: Limitless (solo playing using Piano category tones) Other: 384 Tones Total 319 Tones • Keyboard: PHA-50 Keyboard: Wood and Plastic Hybrid Structure, with Escapement and Ebony/Ivory Feel (88 keys) • Pedals: Progressive Damper Action Pedal (Damper pedal: capable of continuous detection, Soft pedal: capable of continuous detection/function assignable, Sostenuto pedal: function assignable) • Speakers: 12 cm (4-3/4 inches) x 2 • Rated Power Output: 30 W x 2 • Volume Level (SPL): 106 dB (This value was measured according to the method that is based on Roland’s technical standard.) • Headphones: Effect: Headphones 3D Ambience • Touch Sensitivity: Key Touch: 100 types, fixed touch • Master Tuning: 415.3 to 466.2 Hz (adjustable in increments of 0.1 Hz) • Temperament: 10 types (Equal, Just Major, Just Minor, Pythagorean, Kirnberger I, Kirnberger II, Kirnberger III, Meantone, Werckmeister, Arabic), selectable temperament key
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Choose from one of our wonderful used pianos during our Used Piano Clearance and save thousands! Since we’re receiving new stock on a weekly basis we need to make room for more pianos, so prices on used pianos are drastically reduced to sell!
Our piano technician has looked over, tuned and inspected each and every piano offered including balancing the action and voicing the hammers. We guarantee the instruments by offering a parts and labour warranty with purchase!
Come take a look early for best selection while our sale lasts!
It was late one afternoon this spring, and Madison Square Garden’s 19,000 seats were empty as Billy Joel and Lang Lang began jamming onstage.
Pop’s piano man had invited the superstar classical pianist to make a guest appearance at his sold-out April show at the Garden, and they were rehearsing a duet of Mr. Joel’s “Root Beer Rag” during the soundcheck, taking it from fast to blisteringly fast.
Then they started goofing around. Suddenly they were trading riffs from Beethoven’s “Emperor” Concerto. They teamed up on some Bach. Finally, with Mr. Joel’s band looking on in surprise, the two launched into the thunderous opening of Tchaikovsky’s Piano Concerto No. 1.
It was as good a sign as any that Mr. Lang — the world’s most famous, and bankable, concert pianist — still has his chops, after a career-threatening injury to his left arm in 2017 sidelined him for over a year.
After rebuilding his strength and technique, he is returning in earnest this fall. He is again appearing with the world’s leading orchestras. He is again promoting a new album — his first in several years — as few other classical musicians can, with appearances on “The Tonight Show Starring Jimmy Fallon” and “Good Morning America.” And he is again arousing the suspicion, if not outright hostility, of the classical field by applying lessons from the pop world to his career, trying to navigate a delicate balance between popularization and artistic integrity.
But he insists he is not the same man, or musician. Mr. Lang — who long maintained that his greatest fear was an injury that would leave him unable to play the piano, and therefore, as he once put it, “render me useless for life” — spent his forced sabbatical taking stock.
“I used the time,” Mr. Lang said in an interview, “to rethink everything I do.”
His health crisis hit at a pivotal moment. Mr. Lang, who recently turned 37, is at an age when he must navigate the next leg of the journey from wunderkind to mature — even veteran — artist. Such transitions are not easy, noted the conductor and pianist Daniel Barenboim, a mentor of Mr. Lang’s and a former child prodigy himself.
“Either the child goes and the prodigy remains,’’ Mr. Barenboim said, “or the prodigy goes and the child remains.”
That Mr. Lang has taken the first course is evident to the conductor Franz Welser-Möst, the music director of the Cleveland Orchestra, who has known the pianist since Mr. Lang was a teenager.
“We all go through phases, and I think there was a time when success sort of started to have a negative influence on him,” Mr. Welser-Möst said. “Then he was out of the business for health reasons for quite some time, which was a shock for him. Since then he has changed as a musician. Before he would sort of go for the show-off, virtuoso stuff — he was looking in the music for the virtuosic side of a lot of these pieces. Now he has matured. A lot.”Image“I’m going back to basics more,” Mr. Lang said of his new approach to practicing. “It’s healthier.”CreditGus Powell for The New York Times
His pounding bit of soundcheck Tchaikovsky with Mr. Joel aside, Mr. Lang is taking a break from the crowd-pleasing Romantic war horses he made his name with. Critics sometimes complained that those pieces brought out a hammy side to his playing; now he is winning praise with a reduced schedule of more refined works by Mozart and Beethoven. Next season he will concentrate on Bach. In June, he married Gina Alice Redlinger, a pianist he met in Berlinafter one of his concerts a few years ago, and is thinking about starting a family.
“We went through some difficult times already,” he said, adding that Ms. Redlinger had been a support when he was injured. “And she helped me along.”
After spending more than half his life as a touring musician, he has decided to give fewer concerts. He plans to cut back to 70 or 80 a year, down from the 130 or so he had been doing before his injury — because he wants more time to, well, live his life, as well as to devote himself to educational projects.
“I need those extra days, because otherwise you can’t really focus on everything you do,” he said.
It’s not that the old Lang Lang — which is to say the young, flamboyant Lang Lang — has disappeared completely.
Few other classical soloists, after all, make cameos at Billy Joel concerts. Who else could get Steinway to name a new line of grand pianos for him this year, the way guitar makers have long named instruments for stars like Eric Clapton and Les Paul? Or work with the director Ron Howard, who is developing a biopic based on Mr. Lang’s rags-to-riches upbringing in China? Or hold his wedding at Versailles with a party Marie Antoinette might have envied, and several columns’ worth of boldfaced names as guests?
But much has changed — down to his practice routine.
Mr. Lang attributed his injury to overwork: He had been touring with several demanding pieces as he taught himself Ravel’s Piano Concerto for the Left Hand, written for Paul Wittgenstein, who lost his right arm in World War I. Mr. Lang wound up with tendinitis, as dangerous for a pianist as it is for a pitcher. It got bad enough that in April 2017, he decided to cancel a few months of concerts to recover; in the end, he took more than a year off.
These days, he is more careful. “I’m going back to basics more,” he said of his new approach to practicing, which he does for an hour each morning and evening. “It’s healthier.”ImageMr. Lang with students from First Avenue School in Newark, where the Lang Lang International Music Foundation has opened a new piano lab.CreditGus Powell for The New York Times.
On a recent morning in midtown Manhattan, he strode into a studio and carefully went through major and minor scales in every key. But now he stopped from time to time to stretch, pausing to slowly rotate his head over his shoulders, or to cross his arms over one another in front of his chest.
“I want to build more muscles,” he said, “but without hurting.”
A black S.U.V. eventually picked him up to take him to Newark for a ribbon-cutting ceremony at a new piano lab that the Lang Lang International Music Foundation had donated to First Avenue School — which has also received several dozen Roland digital pianos, along with Lang Lang Piano Method instruction books — as part of the foundation’s multimillion dollar commitment to expanding access to music education in underserved communities.
As the car snaked through traffic, he spoke about his new album, “Piano Book,” his first release since he returned to the Deutsche Grammophon label — in part to take advantage of the better promotional opportunities available from being part of the Universal Music Group juggernaut — after several years with Sony Classical.
His choice of repertoire on the album is almost a taunt to those who have found his artistic choices overly safe: “Piano Book” is a collection of short, mostly greatest-hits pieces, like Beethoven’s “Für Elise” and Debussy’s “Clair de Lune.”
“A lot of people were like: ‘Are you serious? You’re playing ‘Fur Elise?’” Mr. Lang said.
But, he added, he recorded them because, quite simply, he likes them — and because, even though such chestnuts are played by students all over the world, it is not always easy to find quality recordings.
The album was also engineered for music’s streaming age. Since big streaming services generate revenue each time a track is played, they reward albums with many short tracks over those with fewer long ones, as with most symphonies and concertos. Within four months of its release in March, Mr. Lang’s “Für Elise” recording had been streamed 5.1 million times on Spotify.
Mr. Lang was born in 1982 on a military barracks in Shenyang, China, where his father, who played the erhu, a bowed Chinese instrument, had a job as an Air Force musician. His parents, whose grander artistic dreams were thwarted by the Cultural Revolution, when classical music was all but banned, got him a piano when he was still a toddler, and he often cites a Tom and Jerry cartoon, “The Cat Concerto,” in which cat and mouse fight through Tom’s attempt to perform Liszt, as an early influence.
But his parents struggled to pay for his musical education. When Mr. Lang was 9, his father left his job — he was a police officer by then — and moved with him to Beijing so that Mr. Lang could study piano more seriously. His mother stayed behind in Shenyang and worked so she could send them $150 a month, which they had to stretch to pay for rent, lessons and food.
His father pushed him relentlessly, Mr. Lang wrote in his 2008 memoir, “Journey of a Thousand Miles” — and even urged Mr. Lang to kill himself after he was dropped by his first teacher in Beijing. “Die now rather than live in shame,” Mr. Lang recalled his father saying. Mr. Lang’s father thrust a bottle of pills at him and told him to swallow them all before ordering him to jump off their balcony.
Mr. Lang wrote that he almost gave up the piano then and there — punching the wall to hurt his hands, and giving up playing for months. But the moment of madness passed; father and son reconciled; and Mr. Lang returned to the piano, going on to study at the Central Conservatory of Music in Beijing and eventually earn a place at the Curtis Institute of Music in Philadelphia, where he studied with its director, Gary Graffman.
“Technically, he was incredible,” Mr. Graffman recalled of Mr. Lang’s audition. “He had this communication thing. Yes, his hands went up to the ceiling and that sort of thing, but even if you closed your eyes, there was really this communication.”
When he was 17, his big break arrived as he filled in at the last minute for André Watts with the Chicago Symphony Orchestra. He was an overnight sensation.
His career took off just as China was emerging as a powerhouse of classical music: an important new market for recordings, a required stop on orchestra tours, and a major source of new artists.
But as the new generation of Asian musicians began to make inroads, they sometimes faced bias. In comedy sketches, Yuja Wang, another star pianist from China, has mocked the trope that Asian players have strong technique but play like soulless automatons. Mr. Lang said that his emotional, expressive style may have been in part a reaction to the stereotypes.
“They were saying that Asians were kind of cold, that they were reserved,” he recalled. “From the very beginning, I always tried to do more.”
He did. And with dazzling technique, exuberant showmanship, canny marketing — and by making the most of opportunities such as playing at the opening of the Beijing Olympics in 2008 — he became a superstar. Like other classical artists, he endorsed a Swiss watch. Far more unusual? He had a line from Adidas named for him, and played with Metallica.
But prominent critics, many of whom had initially been impressed by his talent, began regularly decrying what they perceived as tastelessness in his playing. Anthony Tommasini, the chief classical music critic of The New York Times, skewered Mr. Lang’s 2003 Carnegie Hall recital, writing that his playing was “often incoherent, self-indulgent and slam-bang crass.” In 2015, John Allison complained in The Telegraph that Mr. Lang played Chopin with “a vulgarity seldom, if ever, heard on the London concert platform.”
But audiences — and, as important, leading maestros — continued to be impressed. Mr. Welser-Möst recalled that when Mr. Lang came to Cleveland several years ago to play Bartok’s demanding Second Piano Concerto, the pianist asked him for help with some Mozart.
Mr. Welser-Möst said that he responded by testing Mr. Lang, saying that he would coach him in Mozart sonatas if Mr. Lang would come to the stage an hour and a half before the Bartok concert.
“And he was there,” Mr. Welser-Möst said. “That shows what kind of discipline he has. He was already an enormous star. I don’t know many people who would have that kind of humility.”
Mr. Lang has tried to balance that humility and curiosity with Metallica, Mr. Joel and “Für Elise.” It’s not always easy. Classical music may lament its increasing marginalization from the broader culture, but it is often also wary of popularizing efforts. Even Mr. Lang admitted to occasional doubts.
“I really want to carry classical music into some new areas,” he said. “But sometimes I think, maybe it’s too far? Maybe I should pull back a little bit?”
The violinist Itzhak Perlman — whom Mr. Lang cited as an inspiration for his balance of populism and artistry, along with Luciano Pavarotti and Yo-Yo Ma — said that he always thought hard when deciding to dip his toe in something outside the core repertoire, like klezmer.
“Some people will say, ‘That’s cute,’ and some people will say, ‘Oh, how can you do something like that, you’re a classical musician,’” Mr. Perlman said. “Personally, I always remember what my day job is.”
And so, a few weeks after his cameo at the Garden, Mr. Lang was back at his day job, playing Beethoven’s Second Piano Concerto at the Easter Festival in Baden-Baden, Germany, with the Berlin Philharmonic and its incoming chief conductor, Kirill Petrenko. He said that he and Mr. Petrenko spent nearly two hours going over the piece together “almost note by note.”
Shortly after, in May, he played the same work in Los Angeles with Gustavo Dudamel. There, it was part of a cycle of Beethoven’s five piano concertos; Mr. Lang was originally scheduled for the full cycle, but withdrew from all but the Second as his recovery continued.
Any doubts those cancellations raised about his abilities were dispelled by his nuanced, delicate performance. Mark Swed, the classical music critic of The Los Angeles Times, wrote in his review that it was “something people may well be talking about for years.”
“This was not so much Lang Lang returning,” he added, “as Lang Lang arriving.”
Mr. Lang said he was already making plans to return to the Romantic repertoire. But first he is spending a season focused onBach’s “Goldberg” Variations, one of the most intellectually demanding, austerely unfussy works in the canon — an immersion planned before he got hurt.
And he has other dreams, beyond big-statement virtuosity: to accompany a singer in Schubert’s song cycle of heartache, “Winterreise”; to revisit Brahms; to play new music if he can find the right fit; and perhaps to try and compose something himself.
“Maybe I will start with some children’s songs,” he said, laughing. “Easier! Safer!”
For now, though, Mr. Lang is happy just to be playing again. He said that he had been frightened right up to the opening bars of his comeback concert last year at Tanglewood, the Boston Symphony Orchestra’s summer home in the Berkshires.
“It was really a little weird to play the first eight bars — the most weird eight bars in my life,” he said. “I was like, Am I going forward? And then after eight bars, it was: Let’s go!”
Michael Cooper covers classical music and dance. He was previously a national correspondent; a political reporter covering presidential campaigns; and a metro reporter covering the police, City Hall and Albany. @coopnytimes • Facebook