Once again the less-than-perfect state of new pianos has been highlighted this week. By the end of the week, I shall have seen or worked on 4 pianos less than 2 years old that have needed extra technical attention before they can be considered satisfactory - or at least, in my opinion. Nobody likes hearing the same old moan time and time again, but the customer has to live with the reality of their choice of piano. Most of these keen pianists are paying good money and are at a loss to understand why their pianos are not quite as good as was hoped.
I have been reading Alastair Laurence's book Five London Piano Makers,and I am sure I have detected in the book, hints of a similar mood of disappointment. He says in his introduction, "The near total collapse of British piano making means that there seems to be little likelihood of those fascinating centres of musical workmanship - the small piano factories - ever being seen again on these shores."
Anyone who has worked in a piano workshop will know something of the atmosphere of constant and affectionate labour over the many apparently lifeless components of a piano. Workers feel a strange and invisible force urging them onwards toward success. Maybe in other professions, something of the same drive is at work, but wherever there are pianos and music, the mixture is intoxicating.
The fact that there are fewer 'centres of musical workmanship' in the UK is partly due to the poor standard of piano produced during the the 1970s. Piano makers were competing with imported pianos from the far east which, frankly, were better. Cost cutting meant, the fine finishing of the pianos was cut to a minimum, thus bringing forward the eventual demise of the industry.
I notice that what I described as the less-than-perfect state of new pianos - pianos that are imported - means that these mostly far eastern companies have reached a point that has resonances with the the sad era of the 70s in the UK. Who knows? Maybe the changing tides of piano-making fortunes might just be turning!