STANDARD MODELS

Bösendorfer—
The Viennese Art of Piano Making
Bösendorfer ranks among the world’s oldest piano
manufacturers, rich in tradition and world-famous for its
unmistakably inspiring sound as well as the outstanding
quality of its instruments.
The selection of first-class materials and above all the
extremely careful craftsmanship—most of which is still
done by hand—distinguish each individual Bösendorfer.
Our product range encompasses grand pianos in
seven different sizes, from 170 to 290 cm in length, an
upright “with the sound of a grand,” as well as the CEUS
computer grand, with which you can record your playing
and play it back like magic.
Yet it is not magic that makes a Bösendorfer so special. In
every Bösendorfer piano is not only the work of an entire
year, but also the know-how that is passed on from one
generation to the next.
Acquiring a Bösendorfer is a lifetime dream for many
people. For them, we build something very special, with
devotion and professionalism: the “Bösendorfer among
the grands.”
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 The History
Father and Son
Ignaz Bösendorfer, the son of Viennese master carpenter his playing! At a single blow, the “Bösendorfer” became famous
Jakob Bösendorfer and his wife Martha, was born in 1794. as a concert grand. In 1830, the Emperor of Austria named Ignaz
At 19, the young Bösendorfer commenced his apprentice- Bösendorfer “Imperial and Royal Piano Purveyor to the Court”—
ship with a Viennese organ and piano builder. A good the first piano maker to be granted this honor. Numerous gold
master had found a brilliant student. medals and first prizes followed. The increasing demand for his
pianos led him to consider founding a new factory. Unfortunately
Vienna, 1828: Franz Schubert was buried next to
he did not live to see this project realized; he died in 1859. His son
Ignaz Bösendorfer Beethoven a year after the latter’s death. Before them,
Ludwig, born in 1835, took over the company.
this city on the Danube was already home to Mozart and
Haydn. That year, Ignaz Bösendorfer requested a business When Ludwig was 24 years old, his far-sighted father revealed to
license to start his own piano manufacturing company. him the secret of Bösendorfer pianos. Ludwig, a highly gifted mu-
He took over his master’s factory and began building his
own instruments.
At that time the young Franz Liszt, with his impulsive
playing technique, wrecked nearly every piano made
available to him. Upon the advice of several friends, he
tried this with a Bösendorfer grand—which held up to
Vienna, 1892:
Ludwig Bösendorfer
presents his piano to
His Majesty Emperor
Franz Joseph I.

Franz Liszt playing for Emperor Franz Joseph and

2 Empress Elisabeth in the Redoute of Buda. Replica
by Franz Schmaus and Karl Lafitte
 At the same time, Bösend-
orfer is closely connected
to musical culture: for over
40 years, up to just before
the First World War, Bösen-
dorfer Hall was the most
frequented concert hall for
Ludwig Bösendorfer
chamber music in Vienna,
due to its outstanding
acoustics. Over 4500 con-
certs took place, by such
luminaries as Anton Ru-
binstein, Franz Liszt, Eugen
d’Albert, Johannes Brahms,
Piano transport during Ludwig Bösendorfer’s time. Ernst von Dohnány, Max
Reger, Arthur Rubinstein,
sician with an exceptionally good ear, improved the instruments Béla Bartók, Edvard Grieg, Gustav Mahler and Richard
such that the Bösendorfer name became inextricably linked to Strauss. At the end of the 19th century, Bösendorfer pianos
the terms “music” and “touching sound.” His demands for un- were built for the imperial court, for Empress Elisabeth,
compromising quality continue to hold today for all of Bösend- Empress Eugenie of France, the emperor of Japan, the
orfer’s employees, particularly in the Wiener Neustadt factory, czars of Russia and other prominent personalities. Today,
where Bösendorfer pianos have been built since 1973. Bösendorfer Hall is a popular performance venue for

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 chamber music and solo concerts. In our showrooms in Vienna,
you can play an exquisite selection of our unique instruments.
Since 1913, these pianos have been housed in one of the world’s
most important musical centers: Vienna’s Musikverein, a popular
meeting place for artists from all over the world.
Here is a list—an incomplete one, of course—of some of the
most prominent artists who play or have played Bösendorfer
pianos, as well as personalities who own or have owned a Bösen-
dorfer instrument:

ABBA Dave Brubeck

Tori Amos Ferruccio Busoni
Vladimir Ashkenazy José Carreras
Charles Aznavour Jörg Demus
Wilhelm Backhaus Plácido Domingo
Paul Badura-Skoda George Duke
Béla Bartók Antonin Dvorák
The Beatles Duke Ellington
Leonard Bernstein Philippe Entremont
Walter Berry Dietrich Fischer-Dieskau
Johannes Brahms Emperor Franz Joseph I

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Peter Gabriel Napoleon III (Eugenie)
Richard Gere Garrick Ohlsson
Emil Gilels David & Igor Oistrach
Edita Gruberova Alfredo Perl
Friedrich Gulda Oscar Peterson
Thomas Hampson André Previn
Anthony Hopkins Hermann Prey
Herbert von Karajan Sviatoslav Richter
Alexei Kornienko Mstislav Rostropovich
Gidon Kremer Gonzalo Rubalcaba
Piano Duo Kutrowatz Anton Rubinstein
Jack Lemmon Fazil Say
Yundi Li András Schiff
Valentina Lisitsa Arnold Schönberg
Franz Liszt Frank Sinatra
Gianluca Luisi Vladimir Sokoloff
Lorin Maazel Edna Stern
Nikita Magaloff Cheryl Studer
Gustav Mahler Richard Wagner
Yehudi Menuhin Wiener Philharmoniker
Gabriela Montero Stevie Wonder
Anne Sophie Mutter Joe Zawinul

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The Upright Piano—Model 130
That sounds like a grand
Many people say Bösendorfer’s 130 CL model sounds like
a grand piano; many think it is the best upright piano in
the world.
Naturally it benefits from all the expertise of our
craftsmen just as our grand pianos do. By definition it
has all the advantages of an upright piano over a grand
piano: it is smaller and needs less space, it is easier to
acquire and is more affordable. The precision installation
of the mechanics is designed to deliver optimal
playability and maximum control without loss of power
transmission.
Model 130 CL is a tremendously elegant design and its
proportions are perfectly balanced. In other words, it is a
beauty.
It is probably the easiest way to share the exclusive,
world-famous Bösendorfer name.

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“ Bösendorfer
is the royal class
of pianos.”
Axel Zwingenberger
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The Conservatory Series—CS Models
The best tool has got to be a Bösendorfer
Those who desire to learn their craft properly should
work with the best available tool from the very
beginning. This is why we at Bösendorfer came up with
something special: the CS series grand pianos.
The finish is less labor-intensive and the design has been
marginally simplified in order to help students obtain the
best affordable tool. These pianos are available in sizes
170, 185, 200 and 214 and by no means fall short of our
standard models technically or sonically.
Owners of a Conservatory Series piano can be entirely
certain they are playing an instrument that offers them
the best prerequisites for a successful career. Only with
the best instrument, one built for the highest demands
and brilliant virtuosity, it is possible to develop and realize
technical proficiency and artistic subtleties.
We are convinced that our Conservatory Series will
inspire those lovers of exquisite musical instruments
who will now consider affording a Bösendorfer for
the first time.

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“ Many of my best and most motivated
students grew up with a Bösendofer.
It imparts that inspiration, that energy,
life-long joy in playing and stimulates an
especially personal creativity.”
Paul Badura-Skoda
Recipient of the Bösendorfer Ring

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 A Magical Beginning—Model 170
Small is relative
Beauty of sound cannot be measured in centimetres.
Our 170 model, the smallest of Bösendorfer‘s grand
pianos, is specially designed for smaller living spaces—
which means you can even enjoy the inimitably rich
sound of a Bösendorfer at home. But what does small
mean? Our 170 model weighs 314 kilograms and has
dimensions of 146 x 170 centimeters. A formidable
presence.
This piano is built by hand using the highest-quality
materials. The sound quality in the bass, in particular, and
the range of tonal colours are exceptional for a piano of
this size. Its action allows the fastest of repetitions and it
has a very precise playing feel.
Our 170 model is traditionally finished in highly
polished black but can also be finished in a
variety of veneers including bird‘s eye maple,
burr walnut, amboyna, rosewood, pyramid
mahogany, pommele or any other desired
finish.
And the most beautiful thing of all:
it is “a Bösendorfer of grand pianos.”

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 Alan Gilbert
Musical Director
New York Philharmonic
 The baby Grand—Model 185
A born cosmopolitan
Our 185 model brings worlds together: the world of the
home and the world of public performance. It creates a
bridge between private space and public space. Why?
Because it can; it is, quite simply, capable of creating this
link—in terms of both construction and performance.
Its dynamic features make it ideal for more intimate
performances in front of a small audience, whilst its
sonorous sound is the unmistakable hallmark of a
member of the great house of Bösendorfer. That same
expertise has gone into its development; the same
expert hands that create the full-sized concert grands
have brought it to life.
Its responsive touch and unique tonal character mean
you will experience some exquisite musical moments in
the company of your friends.

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Left: Upon closing, Bösendorfer fall boards are gently cushioned by
a custom device.

Right: Bösendorfer grands have six different music stand positions.

 The Classic—Model 200
You will love it too
Music schools love it. Conservatories love it.
And who knows? Maybe you will love it too.
Our model 200 has been enormously popular for more
than fifty years. By creating it, Bösendorfer has produced
a piano that clearly longs for its tonal and dynamic
affinities to come under scrutiny alongside those of its
“big brothers,” which is why it is so often the choice
of professional teachers at conservatories and music
schools. But its compact size means it is equally at home
in a private space.
In playing terms, it has the famous, rich, moving
Bösendorfer sound and everything else that makes a
genuine Bösendorfer what it is: playability, superior
quality workmanship and mechanical design in terms of
repetition and stability, and optimal use of materials to
create the best sound possible and lasting value.

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“ I perceive a Bösendorfer to be much more than merely a fine piano, but rather the ideal
personification of Viennese musical culture. It is no coincidence that precisely this piano
evolved in the city of Vienna, which has exerted an irresistible attraction to musical
heroes from time immemorial, even to this very day.”
Wilhelm Backhaus
 The Salon Grand—Model 214
Ideal size and sound
Our salon grand model 214 is happiest demonstrating its
concert capabilities at performances in medium-sized
concert halls.
This is where its strengths can come to the fore:
optimal sound transparency, sheer delight in playing,
precision of touch, unsurpassed fullness of sound,
dynamic control and a sustained tonal character that will
be warmly applauded.
Salon grands rose in popularity at the start of the
Biedermeier period (the style in painting, literature
and furniture from around 1815 to 1848). During that
era, an important role was played in Viennese musical
life by elegantly furnished salons where the foremost
composers of their day would present their works.
During the 19th century, salons developed
into exclusive gathering places for Austria’s
aristocratic and bourgeois society.
Our 214 model is, naturally, also eminently
suitable for private spaces.

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“ And the Bösendorfer
is the ideal partner
for my Stradivari.”
Anne Sophie Mutter

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 The Half Concert Grand—Model 225
Inimitable sound
Our grand piano 225 model is built for the stage.
Its inimitable sound derives from a combination of expe-
rience, skilled craftsmanship, technological expertise,
musicality and benefits for the customer. After all, we
only build what is of service to you.
Anyone who has ever encountered its expressive diversity
and inimitably rich, moving sound has experienced
something very special indeed. Playing this instrument is
an uplifting feeling; experiencing its musical spectrum is
equally so.
Its size and construction allow this piano to produce a
rich palette of sound colours, from the softest pianissimo
to the loudest fortissimo. Four additional sub-bass keys
also extend the bass range to bottom F.
It is thus no wonder that the model 225
is considered the best chamber music
instrument of its size and is also highly valued
for private use, despite its suitability for the
concert stage.

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Plácido Domingo

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 The Giant of The Stage—Model 280
Heart, what more could you desire?
Our constant contact with the world’s greatest pianists
and most eminent conductors enabled us to draw up a
detailed “wish list” for the concert grand model 280.
We have now made this profile a reality through a
combination of many new technical developments and
special respect for our great musical heritage.
The Bösendorfer principle of construction views the
entire instrument as a cohesive whole. This is what
allows us to achieve our uniquely rich sound colors and
characteristic singing timbre, of which our concert grand
model 280 is living proof.
A new model created for the 21st century, the
concert grand is multi-talented. It can hold its
own against the forces of a large orchestra
yet has all the sensitivity required for an
accompanying role in a chamber music setting.
In the bass it has a clarity and fundamental
tone that no instrument has achieved ever
before.
Tradition and innovation in association with the
best pianists in the world: the stage is yours!

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“ Congratulations!
The new 280 model has the traditional qualities of a Bösendorfer piano,
including the melodious sound, and also it has a rich resonance and very
responsive key-touch.”
Paul Badura-Skoda

“ … the best concert grand piano I have ever played.”

André Previn

“ I have always admired Bösendorfer grand

pianos and have been playing on them for
the past 35 years at concerts. I enjoy the
clear, strong sound, the unmistakable bass
and the wonderful touch of the keys. I am
very happy to play the concert grand piano
model 280 in the largest concert halls in 21
the world.”
Garrick Ohlsson
 The Commanding Flagship—Model 290 Imperial
The DNA carrier
Our model 290, the Imperial, carries the Bösendorfer
DNA, our heritage in its most pronounced form.
Historically, the Imperial was the 19th grand piano model
made by the Bösendorfer company.
Originally built following a suggestion by the composer
Ferruccio Busoni, the Imperial has 97 keys, hence eight
full octaves. The powerful sound of this instrument also
inspired other composers, including Bartók, Debussy and
Ravel, to compose special works which can only be played
faithfully on the Bösendorfer Imperial.
With its powerful soundboard combined with the high
percentage of mountain spruce, its sound is virtually
orchestral. In the Imperial, the Bösendorfer resonance
case principle—which treats the entire instrument
as a sounding body—creates an unexcelled power
and touching sonority. The model 290 is the only one
of our standard models to have received an epithet
when it was first built around 1900: Imperial (Latin
“imperare”: to order or command).
The Imperial’s commanding presence in some of the
world’s great concert halls sets the standard by which
other grand pianos are judged.

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“This is the one!”
Oscar Peterson meets the
Bösendorfer Imperial
 The Celestial—CEUS
Concealed high-tech
One of the cornerstones in the development of our new
computer-controlled grand piano CEUS was a scientific
study conducted at the Vienna University of Technology
which yielded a remarkable result: it analyzed the various
ways in which we perceive a musical interpretation
either as mechanical or human and was able to relate it
to the degree of hammer velocity and strike precision.
The prime objective of the Bösendorfer designers
therefore became to design a computer-controlled grand
piano with recording and playback capabilities so finely
tuned that it was able to render an interpretation of a
performance, reproducing it with its entire authentic
depth of feeling.
The dynamic scales of the key movements are rendered
absolutely authentically in all ranges from pianissimo
to fortissimo. For the first time, the release of the
key and consequently the setting of the damper has
become perfectly recordable and reproduceable; all
pedal movements are now able to be seen as they were
originally performed.
CEUS’s sampling precision is a factor of 150 (!) times
better than that of comparable systems. We perform
miniaturized distance measurement on every key.

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“ Performing with Bösendorfer is always a great pleasure. Huge dramatic sound,
different and deepest colors and melodious sound make the difference.
I am very glad to have performed with Bösendorfer often. I hope this will last forever.”
Fazil Say

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CEUS—Technical Characteristics
• CEUS is available for all Bösendorfer grand pianos from
sizes 5’8” to 9’6”. Retrofitting into all Bösendorfer grand
pianos is likewise possible (models 170 to 290).
• Controlling CEUS is done via the keyboard and brass
sensors built into the fall board. An external PC is not
necessary for operating CEUS.
• The self-playing system works entirely autonomously,
without influencing the character and playing of the
instrument.
• CEUS records even the slightest movements of the keys
and pedals via highly sensitive light sensors, saves them
on an internal hard drive and outputs them via USB.
• The reproducing system works in a specially developed
internal format, which can handle the high resolution
of the transmitted data.
• CEUS is fully MIDI-compatible.
• CEUS compensates for climate-induced changes in the
action via its automatic calibration.
• Serviceability of the instrument remains unchanged.
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• Accuracy of striking keys: any possible timing difference
between recording and playback is under 2 milliseconds.
• Hammer movement before striking keys: the timing for
the final 3.7 mm between the hammer head and strings is
measured directly at the hammer head with an accuracy of
0.001 milliseconds.
• Key/pedal movement: key and pedal movements are sampled
every 2 milliseconds at up to 2000 levels.
• Dynamics: the intensity of key strike is sampled every
millisecond at between 17,000 and 25,000 levels and
interpolated to 250 levels.
• Internal storage: 100 GB
• Ports: USB, MIDI In/Out, ethernet
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 L. Bösendorfer Klavierfabrik GmbH
Bösendorferstraße 12 · A 1010 Vienna · Austria
Telephone +43 / 1 / 504 66 51-0
Fax +43 / 1 / 504 66 51-139
mail@boesendorfer.com
www.bosendorfer.com