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DREAM PIANO: Overview and Acknowledgments

My two-year long romp on the piano finding trail with York as my professional companion and consultant had been worth all the time spent in, around and under pianos. How else would I have acquired knowledge about the piano’s harp, or cast iron plate were it not for his having the bravado to dismantle it from the Proskch 1905 grand and haul it out to the College of the Sequoia’s welding department. In the face of technicians and others who mocked him for his efforts, he persevered; soda blasted the ugly looking frame and dragged it home for a second wind. Rebecca McGregor, a victim of her impulsive sight unseen Internet piano purchase and an unprincipled seller, had written me a thought provoking e-mail after she had hovered over the plate on full view in York’s driveway. It was a funereal scene.

She wrote, “I actually learned something at York’s, and I think you captured the essence of our meeting and the somber mood. Were we paying for his having tried to mend the plate, I would have stopped him, but with York’s willingness to take it on without payment, we’d have been fools not to let him proceed.” (This was before the plate cracked in two other places as York hauled it to his pick-up truck)

Rebecca had linked hands with Terry Barrett and York’s wife in a prayer vigil over the plate and then helped to flip it on its back to survey its underbelly.

The underside of inanimate things always sparked York’s curiosity and it invariably sent him nose diving under pianos to investigate anything from mice, moths and moisture to the storage of $$$ assets in the crannies of a Kawai.

To my educational advantage, he found it necessary to drag me along on his adventures to prove without a doubt that he had the lowdown on each and very piano he tuned, moth proofed and treated for rats.

And I can personally attest that his tattered, age worn diaries were evidence of his meticulous record keeping since 1948. These should someday be enshrined in the Smithsonian or at least in the PTG (Piano Technician’s Guild) Hall of Fame.

While Terry Barrett, RPT (Registered Piano Technician) argued that bridle straps had no importance in the assembly of uprights, and moths were basically harmless to pianos because they would die eating cyanide based hammer felts, York produced incontrovertible evidence to the contrary. He marched valiantly on his truth finding crusade and produced a Kimball made “Whitney” spinet without bridle straps that had a basic action defect, and he plucked a hammer from his pick-up truck that had the most perfect, moth drilled hole I had ever seen! Such was Mother Nature at work.

As an unofficial “apprentice” to the city’s senior piano tuner, I had acquired trade secrets that no piano technology school or correspondence course would ever impart. Would most “registered technicians” anywhere in the universe know to battle moths with a bottle of cloves? York was always far ahead of his time banishing moth balls from his tool box. “They cause cancer,” he said repeatedly when we stumbled upon pianos that were victims of merciless moth attacks. While I hadn’t yet seen examples of chewed up bridle straps from nest seeking rats, York had promised to phone me immediately if he had a scheduled DECON call at a church or elsewhere.

The master tuner without his formal “registration” in the Piano Technician’s Guild showed those who had somehow obtained it that he deserved at least the honorary title because of his decades long association with pianos. Thankfully, the local Fresno chapter honored York by giving him a podium to demonstrate piano restringing, and when he turned up at monthly PTG meetings as a devoted “associate member,” his colleagues always greeted him with a hearty slap on the back.

On the day I had shown up to interview “Laroy Edwards” retired Yamaha senior piano technician, and emissary for the company all over the world, York made his presence known by telling his full length account about the cat that had been trapped under a grand piano lid and miraculously, emerged alive and well, though hairless. York fleshed out, colorful new details each time he spun a piano related tale, though he sometimes forgot that he’d told the story one too many times.

Besides being York’s companion through our two year-long piano adventure, my having compiled these stories was a natural outcome of all the trips made to many homes containing used pianos of an infinite variety–some sold in estate sales and auctions.

And in the course of this learning driven journey, I had hoped that readers would willingly share their own piano memorabilia since a keyboard culture may be dying on the vine if not preserved.

The old upright stories should be written down and treasured. The genealogy of older pianos should be a relentless source of research. Piano owners should learn how to discover the age of their pianos by seeking out the serial numbers on the cast iron plate, and by consulting the Pierce Piano Atlas or the Bluebook of While it’s common for piano owners to throw up their hands and say,”I know virtually nothing about my piano,” it’s time for a new attitude to replace the old. Even “Alice” was exhilarated to know more about her “player piano without a name” when I enlisted her in the fact finding adventure. While the piano had been virtually un-played for 4 years since its purchase from an antique store for $125, she quickly became my “Dr. Watson” beaming a flash light on its cast iron plate; screaming in delight when she discovered the digits that might help date it. In the case of her particular piano, supplementary information acquired from Robert Furst’s Bluebook of led to its more conclusive identity.

Sharing a systemic approach to the whole research undertaking with Alice, I was able to enlist a new partisan in the preservation of old pianos. In fact, she became very reluctant to part with her stately upright once I had breathed life into it as a performing pianist. But at long last, it finally found a worthy owner who had promised to take good care of it and give it a new home.

Another piano, a table style Aeolian with three leaves underwent an equally intense identity crisis as its true birth date was pursued. I couldn’t thank Mr. York enough for his A-1 guesstimate and Terry Barrett for pulling the piano’s action and stumbling upon a note with the date “APR 1936” engraved in the wood. What a miraculous discovery!!

DREAM PIANO had been all about the exciting adventure of pursuing and finding pianos, primarily in the private party, used piano market and how these travels of mine had changed the hearts and minds of the many piano owners that I’d encountered. Just making a routine house call to check on a piano up for sale, I’d invited myself into the lives of so my people who possessed the kindness and generosity to share their piano stories. “Ralph Cato,” whom I’d met at the Guitar Center looking for a keyboard to give his daughter for Christmas shared a heart rending story about his first piano and how he stole into the night to pick the lock and play it. Even a US Olympic Team boxing trainer with the exterior of a lion, softened up to share a tender memoir.

“Caroline Scheer” opened her heart to me and finally imparted the reason she wanted to sell her beloved Knight piano. This had been a mystery all along, but when the truth spilled out one day during a taped phone interview, all the puzzle pieces fit together. I had learned that her father never kept his promise to buy her a grand piano, like the one she had seen at Delaware University, if she obtained all “A’s” on her report card. How many others would want a grand size piano in their home just because they had been deprived of one early in life.

In my travels, I had learned that pianos had a wide variety of meanings for different owners. For some, they were not musical instruments at all, but beautiful pieces of furniture to behold. But that might have been because the buyer or seller didn’t know where to begin in assessing the value of something that at one time had a playing life. And from the countless visits I’d made to homes with old pianos, just by playing them, they acquired a new value and meaning for their owners. Maybe there was an important message to heed. Why not bring a performing musician and piano technician to an establishment or home that housed a piano for sale. Why rely on a visual assessment of something that was meant to elicit tones, harmonics, and chords of beauty?

Perhaps the late Anne Meux, whose esteemed Fresno family had been memorialized in a landmark home preservation, experienced an awakening when her pianos came to life the afternoon I had played them. Prior to my impromptu visit, these musical treasures might well have been regarded as decorative furnishings, appreciated only for their external beauty.

Pianos I’d encountered that were pretty but without musical value:

So many piano owners found themselves with antiques of the square or parlor grand variety that were quite ornate looking but could not play worth a dime. And when it was time to sell them, they confronted the hard reality that as play-less instruments and artifacts of the past, that no one wanted them in the present or future. So what was purchased for $5,000 some years back would sell for $200 or less in the private party marketplace. Some of these age worn and ill maintained pianos might have had to be donated out to a favorite charity. As Terry Barrett poignantly said, “An antique piano was just a different animal.”

“Sam” Torcaso, owner of Chesterfield’s in Fresno, brought it home that the older uprights were just not selling and the whole marketplace of antique pianos was abysmal. She pointed to the bleak housing situation with foreclosures abounding and the dearth of interior decorators that would be consulted to design the insides of newly acquired homes as reflecting part of the problem. But despite her registered cynicism about the universe of antique pianos, she had always known to advise her customers to bring in a technician before they made any kind of “all sales final,” piano purchase at her establishment. This recommendation showed her respect and concern for those who would buy a piano from Chesterfields and then pass it to their children to learn on.

More stories from Dream Piano:

FUJIE had the patience to await the arrival of her dream Kawai K 15 studio upright model piano housed at California Piano,

and “Sharon Cooper” allowed me to include our clandestine tryst in the seedy parking lot beside Ag Hardware where a cash drop was made for a dream piano.

Not to forget Dan Bates, who stole off and bought a Petrof piano, while in the grip of his obsession over the Steinway 1968. May the best piano win!!

And who could forget the Dream Piano I fought for and won, a French Provincial Baldwin Artist Grand.

On the last lap of my journey, I also stumbled upon “Victor Thasia” who was the first person I had ever met who changed his mind about selling his piano, and was ready to love and cherish it forever. Thanks for sharing your epiphany!

And what an opportunity came my way to record on a Dream Piano compliments of the Visalia Piano Gallery:</a

To “Patricia Frederick,” of the Fredericks collection in Ashburnham, Mass., and Thomas Winter, early piano restorer, San Francisco, my sincere appreciation to you for having provided scholarly words of wisdom about period pianos. What a rare opportunity came my way to play a 19th Century Dream Piano that turned up at the American Cancer Society Discovery Shop.

And another period piece that was beautiful on the outside but proved to be a pathetic tonal disaster!

Concluding Bonus Chapter:

Extra: York’s World War II Musical Memoir

More People to Thank:

Terry Barrett, RPT, Fresno gave countless hours detailing pianos for me and helped me write about them from a more technical perspective. While he sometimes disagreed with York about the significance of moth damage and the value bridle straps, he contributed loads of piano related information that enhanced my stories and also assisted sellers in learning more about their pianos.

Finally, I would like to acknowledge all those piano students who gave me my first opportunity to help them find their first real, 88 note, playing pianos. “Michelle” now happily practices on a lovely Baldwin, 1970’s console that had its first tuning, and tweaking by YORK, and my youngest pupil, “Claudia” enjoys her resonating Yamaha studio upright 1992 that I found in the former, Old Hilton Hotel in Fresno where a salvaging company was selling it. I remember how I had managed to get there just at the right time before word got out that two practically new pianos were accumulating dust in a second floor banquet room. Oddly, the Yamaha sat for too long after it was purchased and couldn’t get down the elevator to the ground floor until inspections were made and certification papers filed with the County. In the end, when the piano descended to the first floor level for transport, it was shipped gratis to the base of steps leading to the new owner’s second floor apartment. That’s when a challenge arose! “Elaine,” Claudia’s mother could either pay a whopping $400 to move the piano up two flights of stairs or enlist the help of able bodied neighbors. I wish I could have been there to see how they managed to turn the corner on the landings and push the 700 plus pound piano into the apartment. It must have been quite a sight to behold!

Some piano owners had been luckier than others in moving their pianos. York had told me that the Salvaging company owner, who sold Elaine the Yamaha, tipped over a Kawai piano while he was steering it into another banquet room. “The whole thing just came crashin’ down all at once,” he said. I had dispatched him to give the Yamaha a once over appraisal before it was purchased, and according to YORK, “it passed with flyin’ colors.” While he was at the hotel, he happened to look at the action assembly of the neighboring Kawai console and discovered that the hammers were over-sized and not fitting right. York always knew his stuff when it came to pianos and their interiors. He was also an ace evaluator of piano finishes and could rub the tips of his thickly padded fingers against the grain and ascertain what percentage was veneer.

The old man had done just about everything where it came to pianos. He tuned, repaired, refinished, and moved them. He was quite the master of all trades and he allowed me a share of his knowledge under careful supervision!

Finally, thank you to those who might not have gotten into the pages of this book but who added to my knowledge about pianos of all shapes, sizes, and vintage. I am beholden to “Martin Sigley,” a brilliant player piano restorer who loves what he does like a poet who crafts every word as a jewel. I was so impressed by his little shop that housed an old Behr Player and an “Angelus Orchestral,” and how intensely he worked. The world should regard him as a heaven sent angel. In a universe that values big cars, and expansive, designer homes, there is sadly little room to think about old world type restorers who will someday vanish without the appreciation they deserved in life.

In conclusion, a warm and grateful hug for my 96 year old mother, Jessie Taft Smith who sat relentlessly on the phone in the wee hours of the morning and listened to each Dream Piano chapter as it unfolded and voiced hard fought criticism that drove some periodic changes in my writing. I couldn’t have done it without her.

PS Additional acknowledgments: Peter Wolf, recording engineer, Wolf Sound, Fresno, CA
Bill Sayre, owner, Fasttraxx recording studio, Fresno, CA Heyner Oviedo, Fresno Piano,
The late Anne Meux, Fresno, CA

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Recording on a SLEEPER Dream Piano

On a whim, I had decided to make an hour long trip to Visalia about 50 miles south of Fresno to sniff out the stock over at the “Piano Gallery.” (This was before it went out of business)

A medium size establishment in an upscale shopping mall, it was owned by “Ginnadiy Merkerin,” a Russian immigrant in this thirties who’d left his position as a dealer associate at “Fresno Piano” to start his own business.

The “Petrof” grands and uprights, his bread and butter lines at this new store, had been sleepers in a marketplace that heavily promoted the Asian staples, “Yamaha” and “Kawai,” and the “Nordiska” 7 foot grand, a hot entry from Mainland China had obtained sterling reviews in Larry Fine’s, hot-selling, Piano Book: Buying and Owning a New or Used Piano. The more elite pianos such as Steinway were sold at dealerships that had established relationships with the Astoria, Queens Factory. The positive ties forged between the owner of Fresno Piano and Steinway, New York, for example, had led to the successful factory purchase of the William Saroyan Theater’s dream Steinway concert grand piano that was meticulously maintained and housed in a specially designed, climate controlled room. Its acquisition and follow-up care reflected an increased support for the arts by a circle of Fresno donors who represented the city’s hard rock business community.

Still the Fresno recording environment had remained unfriendly to serious performing musicians who wanted to program the Classical music repertoire and make cd albums. There was no studio that housed a real acoustic piano.

The day I sauntered into Visalia’s Piano Gallery, I encountered row upon row of tight fitting Petrof uprights and grands. Prancing down narrow aisles, testing piano after piano, I couldn’t get excited about any of them because none could be singled out for tonal beauty or individual personality.

In the distance, at the back of the store, sitting atop a wooden riser, I noticed an imposing grand piano that conspicuously bore the name “Nordiska” on its side, and since I had spotted Fine’s review of this exact model in his most recent “supplement,” I was drawn to it out of curiosity.

Fine had written that the “Nordiska 7 foot grand model had an especially good sound and touch, the best yet Chinese-made piano.”

Nordiska’s distributor, “Geneva International,” Illinois, provided an overview of the instrument’s antecedents in its glossy brochure that I snatched from a table beside the imposing grand. One particular paragraph jumped out at me.

“In 1988, when Europe was in the midst of a deep recession the Swedish Nordiska manufacturer ceased operations. The Dongbei Piano Company located in China, was looking to produce a superior Chinese piano and proceeded to acquire the scale designs, machinery and virtually everything else from the Nordiska Company.”

As I read further, I realized the bond that had been forged between the Chinese and Swedish piano manufacturers just might have produced an out of the ordinary instrument but the true test of quality would be revealed in the playing.

Sitting before me was a notably European sounding piano of high quality. As I ran my fingers over its keys, the instrument shimmered in all octaves and provided a broad range of dynamics. I could feel an instant connection to the soundboard, as my fingers drew out an unlimited reservoir of resonance. Yet despite this piano’s tonal beauty and impeccable regulation from note to note, it was relatively unknown to the public. Like the Kawai, it lacked the high profile, aggressive marketing that was associated with its chief competitor, “Yamaha.”

While the older Yamaha grands in the “C” series had an appealing brightness, most, in my experience, would inevitably turn stringy over time. Where Steinways seemed to ripen over years with continued playing, Yamahas would for the most part, not age gracefully. This bore out with a brand new Yamaha grand piano purchased by one of my adult students at Fresno Piano who paid nearly $20,000 for a handsome looking, medium size instrument that had a dry, lackluster sound. And while it had passed through a full period of initiation, being played for at least two years, it hadn’t matured into a piano with a “voice” and personality. Yet, in an alcove nearby, a trade-in Acrosonic (Baldwin made console) from the late 60’s played circles around it.

The Nordiska, sitting upon a throne in the Visalia Piano Gallery, elevated it above the more mundane pianos on the floor. The instrument had made such an indelible impression through its playing performance, that I entertained the idea of asking to borrow it for a Fresno recording session. Having no spare funds to underwrite its rental and transport, I hoped that Ginnadiy would donate it to me, and maybe, in the process, we could give the piano a good dose of needed exposure.

The Name Nordiska and its association

I thought back on my piano finding travels and how I had become aware that a form of commercial racism permeated the sales universe. The Nordiska name belying its Chinese manufacturer had come across as a “European” piano, but no one seemed to know much about its workmanship. Those who had knowledge of its Continental heritage, would still point to its underlying Chinese identity and readily dismiss it as just one of those new pianos pumped out of the Mainland. When Yamahas first arrived, anything “made in Japan” was similarly frowned upon, until perceptions changed in the course of years.


Ginnadiy was surprisingly receptive to my request to obtain the Nordiska to make a CD.
“You just name the day, and I’ll have it delivered to you, free of charge,” he said.

I was shocked by his generous offer because only months before I had approached the authorized Steinway dealer in Fresno, and had asked to loan the house piano, a 7 foot concert grand, only to be told that I had to foot the complete bill of $1,500, rental and shipment included. For a starving musician like me whose rent and utilities easily exceeded this sum, my dream of recording on a worthy piano had evaporated.


A shiny, ebony Nordiska grand arrived at the “Peter Wolf Sound Studio” within weeks of my having found it among a sea of average pianos. It was the rose draped centerpiece of a classy, towering space in downtown Fresno that had an awesome, climate controlled environment. While Nashville, Tennessee was the hub of Country Western music recording, the Wolf Studio seemed like a Sony Classical equivalent with its imposing, vaulted ceilings and advanced technology. The engineering board, vast and complex, made in Holland had been snatched up by Peter during one of his escapades around the state. He had placed a pair of bronzed antique Western statues on its rim and had a few surreal paintings sprinkled around his quarters.

An eccentric addition to Fresno, the 37 year old sound engineer, recommended to me by a music teacher friend, poured his heart and soul into each and every one of his recording projects. Clearly as a gesture of generosity, he had offered to donate his studio time and personal services on behalf of the current Nordiska project because he hoped that he might get to keep the towering piano. Uncannily, he had encountered the same Nordiska 7 foot model O grand at the NAMM show (National Association of Music Merchants) in Anaheim weeks earlier, and admitted to me that he had fantasies of miking it up for a recording session. Such a dream would soon be fulfilled.

I had programmed album selections easily recognized by music lovers and the general public. “Fur Elise” and the “Moonlight Sonata” stood out as works that would appeal to listeners who might enjoy a classics sampler that encompassed diverse periods of musical composition. This disk would not have lengthy sonata movements. The longest composition would be “Chopin’s Nocturne in B flat minor,” a doleful “night piece,” with a passionately turbulent mid section, followed by a quiet return to the opening theme. This was a work I had lived with since age 13 when I had first embarked upon my advanced piano studies with “Lillian Freundlich” in New York City. A teacher with extraordinary teaching and performance gifts, she sealed had my love affair with the piano.

The elegant Nordiska grand dominated the main room of the Wolf Sound Studio and was undergoing a last minute check by one of Ginnadiy’s tuners.

Suddenly, I noticed a problem with the piano. The soft pedal audibly squeaked when depressed and had to be promptly fixed or I wouldn’t be able to make the triple ppps (softs) in the Chopin Nocturne or in the muted sections of the Beethoven “Moonlight” Sonata. Because I took great pride in creating a broad palette of colors in my performances, I would definitely need the sotto voce or mute pedal for “La Fille Aux Cheveux de Lin,” a dreamy, French Impressionist work by Claude Debussy.

The knotty situation evoked memories of my 1922 Sohmer upright that had intermittent squeaks in its sustain pedal that drove me up the walls. The only comparably unpleasant sound was the shriek of chalk on a blackboard!

“Myron Buchbaum,” the relentless, nerdy tuner of my Sohmer piano that sat in a small room in the company of my very musical parakeet whose chirps or cackles affirmed or denounced my piano playing, made more than one emergency call to our Marble Hill projects apartment to address the problem. Not once but several times, the pudgy fellow would fail to find the squeak as he was uncomfortably scrunched into a narrow space beneath the piano with his ear to the floor. Every time I heard the pedal squeak, Buchbaum didn’t. Then when he finally acknowledged it, he dispensed part of a can of oil into the pedal joints to correct the problem. No sooner had he fixed everything and headed out the door, that I heard the squeak again and raced down the hallway to catch him before he disappeared into the elevator. Each time I grabbed Buchbaum in the nick of time, begging him once and for all to annihilate the squeak, it turned out to be a prolonged, frustrating, and fruitless pursuit. In the last analysis, I had to painfully accept a sporadically squeaky sustain pedal.

The Visalia Gallery piano tuner, likewise, couldn’t get a grip on the Nordiska pedal problem. He had tried everything—dis-assembling the action and tweaking the dampers. He even inserted WD-40 directly into the pedal area but to no avail. In the meantime, I was getting a bit testy about the whole thing, wondering why Ginaddiy had failed to properly detail the piano before it was sent over to the recording studio. If York were here he’d certainly know how to fix it, but today he was off in Tranquility, moth proofing a piano.

I took a few deep breaths to calm myself down, and decided that the squeaks were not worth a further drain of my energies. I’d make do, and play the Nordiska without using the soft pedal. If I increased my overall sound projection, I’d be able to scale down my dynamic levels when needed.

Time was short. Peter couldn’t donate more than a complete afternoon and evening to the project and the next day following the session, the piano had to be returned to Visalia though there was always a chance it could remain a bit longer. Perhaps by some miracle, the musical treasure would become a permanent addition to Wolf Sound notching up Fresno’s recording environment and making it a hub for fine classical recording artists far and wide. A nice fantasy.

Peter had proposed a plan for the recording session that was a bit unorthodox.
Upon his recommendation, he would retire to the lounge, turn on the power, and leave me to my own devices in my area in front of the sound engineer’s glass window.

It worked. I was a free spirit left alone to play a heaven sent piano with no distracting hand signals, or prompts from the engineer. I inhabited a fancy free space that was filled with a divine sonority emanating from a grand piano that would be immortalized on disk with Wolf Sound’s imprint!

The session ended by midnight when I had no more adrenalin to pump out, yet I experienced an overwhelming, though pleasurable exhaustion.

Peter had meanwhile returned to his station behind the glass, winked at me, and began to shut down power in the space. The lights out, we parted, and I headed into the darkness to my dilapidated Dodge Caravan van bursting with delight that I had recorded on a dream piano. It would remain one of the most unforgettable experiences of my life!