From Sacile to Symphony Halls: The Fazioli Phenomenon

For Paolo Fazioli, music isn’t just a profession – it’s a calling. In connection with the introduction of Fazioli’s new model F198 and the presentation of Cremona Musica Awards 2024, we had the opportunity to get an exclusive interview with the famous instrument creator and award winner.

Italy’s storied past, a canvas awash with creative brilliance, finds its heart in the Renaissance’s incandescent glow. It was here in Cremona, amidst a flourishing of the arts, that the violin’s soul was born, shaped in by the hands of Stradivari, Amati, and Guarneri – artisans who elevated craft to the sublime.

This spirit of inspired design, an unwavering quest for perfection, echoes through Italy’s narrative. Though the Renaissance skies knew no planes, its innovative pulse propelled Italy’s ascent in aviation and the roaring symphony of motorsport. The names Ferrari and Maserati, iconic brands, are not merely symbols of speed, but embodiments of sleek, meticulously crafted Italian design. This design philosophy, prioritizing both aesthetic beauty and functional excellence, is equally apparent in other domains such as fashion, architecture and furniture design.
In the quiet, picturesque town of Sacile, Italy, a revolution in piano craftsmanship was quietly brewing. The late 1970s saw the germination of an idea, a vision brought to life in January 1981 with the official founding of Fazioli Pianoforti srl. At its heart was Paolo Fazioli, a man imbued with both a deep understanding of music and an unwavering passion for the art of piano construction.

The fledgling company’s debut at the 1981 Frankfurt Musikmesse sparked intrigue, a whisper of something exceptional. The 1980s became a period of intense refinement, a collaboration with research institutions like Zeltron pushing the boundaries of tonal perfection. But the true turning point came when the world’s most discerning pianists began to embrace the Fazioli sound. This wasn’t just a piano; it was an instrument that resonated with their artistry.

The unveiling of the F308 concert grand in 1987, a titan among pianos, cemented Fazioli’s status. Its sheer scale and sonic depth became a symbol of the company’s commitment to excellence. As Fazioli pianos graced prestigious concert halls and dominated international competitions, their reputation soared. From the bustling halls of the NAMM show to the grand stages of Asia and the United States, the brand’s global reach expanded.

Pianists like Martha Argerich, Angela Hewitt, Lazar Berman, Alfred Brendel, Herbie Hancock, and Louis Lortie have significantly boosted Fazioli’s reputation. Through their performances and endorsements in both classical and jazz genres, especially at prestigious venues like Carnegie Hall, they’ve validated Fazioli’s excellence and established it as a top-tier concert piano.

“We’re always searching for the best materials and components,” founder Paolo Fazioli explained, emphasizing the company’s meticulous approach to piano making. “We finish a piano, but it’s never truly the end. We’re always striving for improvement.” Since its inception, Fazioli has crafted approximately 3,700 instruments in various models and sizes.

2021 was the year celebrating the company’s 40 years in business and that same year we saw Fazioli pianos take center stage at the Chopin Competition in Warsaw, being the winner Bruce Liu’s instrument of choice and solidifying their place among the instruments of choice for the world’s most discerning pianists. But beyond the accolades and the international acclaim, Fazioli’s story is one of unwavering dedication to craftsmanship, a relentless pursuit of sonic perfection, and a profound belief in the enduring power of the acoustic piano.

Twelve years have passed since our last conversation, a brief encounter amidst the bustling landscape of Cremona Musica. Even then, the whispers of Fazioli’s artistry were growing louder, hinting at the revolution he was quietly orchestrating in the world of piano making. Now, as the recipient of the prestigious Cremona Musica Award 2024, Fazioli’s vision has not only been realized, but celebrated.

The F198 – first new model in 36 years

At the Cremona Musica Exhibition 2024, Paolo Fazioli and his son Luca expressed pride in presenting this new model after 36 years as the last one was introduced in 1988, emphasizing the company’s commitment to looking to the future and continuously improving to provide pianists worldwide with new challenges and expressive possibilities: “The piano is not an instrument anchored passively and indissolubly to tradition, but, like any other work of human ingenuity, it must evolve and follow continuous technical and scientific development, without this constituting a betrayal of that glorious past that wrote its history.”
The F198 is a medium-sized piano, just under 2 meters in length, designed for living spaces, home studios, classrooms, and small event rooms. Despite its small size, it inherits all the qualities and technical innovations of the larger Fazioli models, aimed for beginners, amateurs, students, and concert performers.The touch of the F198 is responsive and dynamic, thanks to efficient new mechanics patented by Fazioli.

Exclusive interview with Paolo Fazioli in Cremona

In this exclusive interview, we delve into Fazioli’s philosophy, exploring his commitment to innovation, his passion for nurturing young talent, and his fervent defense of the acoustic piano against the encroaching tide of digital alternatives.

Patrick Jovell: Congratulations on your Cremona Musica Award! It’s been 12 years since our first conversation, back in 2012. I remember you had a booth in the exhibition hall at the time, and we discussed your passion for music, particularly impressionistic music, and your dedication to the technological side of piano making. It’s remarkable to see how Fazioli has grown since then.

Paolo Fazioli: Thank you! Yes, time flies. We’ve been very fortunate. We’ve remained committed to our core values, always striving to find the best materials and components, constantly innovating while respecting the glorious history of the piano. We believe in continuous improvement, and our new F198 model, a medium-sized piano designed for smaller spaces, is a testament to that. It embodies all the qualities and innovations of our larger models, offering exceptional touch and responsiveness.

PJ: You mentioned innovation. Can you tell us a bit about the research you conduct to improve your pianos?

PF: We investigate, for example, by recording the sound and then analyzing its physical aspects. Piano sound has many facets. These include the harmonic components, which vary from piano to piano. We can calculate the energy, the number, everything related to the frequencies. Beyond that, we examine the sound’s decay and how the harmonics interact. We try to understand the difference between our subjective judgment and the objective measurements of the machine. This is fascinating because our hearing differs from the machine’s.

PJ: So, it’s about sonic interpretation?
PF: Yes, it’s different because our hearing is individual. When we hear a sound, it can have different aspects and characteristics depending on the listener. We’re looking at things that, while perhaps not immediately obvious, are still important to consider.”

PJ: So you’re looking at objective facts versus subjective interpretation?

PF: Yes, or rather, the measurement of these elements, compared across different pianos.

PJ: Do you also research materials?

PF: We have all the necessary equipment – machines, microphones, hammers—so we can obtain this kind of data.

PJ: Fazioli’s success at the Chopin Competition in Warsaw 2021, with your pianos chosen by the winner, the third prize and several competitors, has certainly garnered international attention. How do you handle such recognition?

PF: We are incredibly proud of that achievement. We provided a specially prepared piano and a dedicated technician, ensuring it performed at its best. The positive reception was very gratifying. We are already looking ahead to the next competition in Warsaw.

PJ: You’ve spoken about the incredible talent of young pianists and you have run a concert series at your concert hall in Sacile. What are your thoughts on the future of acoustic pianos in a world increasingly dominated by digital instruments?

PF: This is a crucial point. Acoustic pianos, like violins and other traditional instruments, produce a natural sound derived from physical vibration. Digital pianos, on the other hand, produce an artificial sound. They are essentially “toys,” lacking the nuanced expressiveness and inherent value of an acoustic instrument. Furthermore, they are not sustainable, as they consume electricity. Our instruments showcase the energy and talent of the pianist without any external power source.

PJ: You’re quite critical of digital pianos.

PF: I am. I believe giving a digital piano to a student is a disservice. They will never truly understand the essence of music as experienced through an acoustic instrument. It’s largely due to ignorance, and people often focus on saving money. It’s astonishing. I’ve spoken with people who simply don’t understand because this ignorance has been ingrained for some time. There’s also a societal trend towards digitalization and cheap solutions, which are often inferior to what came before. In contrast, the acoustic piano represents strong, human values. Someone trying to save money by buying digital is making a mistake. You spend money either way. You might spend less on a digital piano, but you still spend money. And what you get is incomparable to an acoustic piano, which, while more expensive, offers far greater substance. One is a toy; the other is a serious instrument. And this arrogance, this claim that digital pianos will eventually replace acoustic pianos, is unacceptable. We in the music and cultural world must fight against this trend.

PJ: What about the issue of piano disc systems like Spirio for example?

PF: Spirio is a system developed by Steinway. We offer the option of installing a PianoDisc system, which is similar to Spirio, though less sophisticated. It’s perfectly fine for entertainment purposes. Generally, these types of systems, including Spirio, are used for entertainment, not for other applications. Occasionally, they’re used in education, and if a customer requests it, we can provide a PianoDisc system.The installation process can damage the piano’s keybed, and the technology itself has a limited lifespan. Why inflict such damage on a beautiful instrument?

PJ: Finally, Mr. Fazioli, what advice do you give to your son, Luca, who is also involved in the business?

PF: I’ve instilled in him the importance of hard work, dedication, and a relentless pursuit of excellence. These are the values that have guided Fazioli Pianos for over 40 years, and I have no doubt that Luca will carry on this tradition.

PJ: Paolo Fazioli, thank you for sharing your insights and passion with us. It’s clear that your commitment to craftsmanship and innovation will ensure the continued vibrancy of acoustic pianos for generations to come.

PF: You are welcome, thank you.

Video: FAZIOLI F198 – Picturing the future