An old stylistic technique lends our model Tradition an extravagant touch – marquetry. In previous centuries, this technique was utilized for the decoration of expensive furniture.
In contrast to the inlay technique, marquetry is prepared in its entirety beforehand and consists of small veneer elements assembled to be subsequently glued onto the wooden corpus. Marquetry experts base their motif designs on the colour and structure of the primarily exotic wood types employed. With the aid of this veneer technique, our experts produce unusual individual elements manufactured from myrtle to great effect.
Slim Line Concept (Classic 121 & 116): This design was basically developed by Arno Wilhelm Schimmel in the 1930th. The idea was to manufacture a new type of piano with an enormous tone volume, but more gracile appearance compared with the common heavy designs at this time. As this idea was revolutionary at this time when he received patents for. The success of these designs lead Schimmel to become the biggest German manufacturer over decades. The designs were refined over the years and perfected by the help of a self developed computer software CAPE in the 1980th. A true timeless design in tone and touch.
Our hammer heads are made from highly elastic merino felt with high flexibility and low damping properties. The felt is made from the highest quality merino wool in a traditional fulling process in Germany. For the hammer cores, we use hardwoods in combination with tension-regulating under felts. The result is a great richness of tone colours in the different dynamic levels, as well as long-lasting tones due to low damping effect on the strings (short contact period due to highly elastic felt).
"Mineral key tops" are used for flat keys on all Schimmel instruments. These were developed by Schimmel and offer a more sensitive touch for pianists. In addition to this secure and sensitive touch, they are "glare-free" thanks to the matt surface, which s particularly advantageous for the pianist, especially on stages with spotlights.
The keybed is firmly connected to the strungback by a three-point support, thus ensuring a resonance-link. In addition, the extremely stable, multi-layer glued keybed is pre-tensioned with an adjustment function in a process patented by Schimmel. This also ensures increased climate stability of the action regulation. As with our grand pianos, sound resonances are also specifically amplified, resulting in richer tone colours. The vibrations also create an improved possibility of interaction with the instrument when playing the piano.
We use the term tonewood to describe all the resonance woods that produce the sound. For this we use selected mountain grown spruce from the Bavarian and Bohemian forests, the origin of tonewood of the German instrument makers. For this purpose, we only select perfect wood, grown slowly at high altitudes, so that soundboards can be joined that have optimal resonance characteristics. The trees are pre-selected in the forests and then specially cut and dried over long periods of time. Despite this intensive pre-selection, only about 2% of the timber obtained in this way is suitable for our soundboard production.
The bridge transfers and distributes the vibration of the strings into the soundboard. Schimmel invented the so called mass-reduced bridge so that the bridge can withstand the string tension, transmit the energy optimally and at the same time prevent the soundboard from vibrating freely as little as possible. This involves milling a dynamic contour into the flanks of the bridge, which ensures that the richness of the sound is increased, and the sustain gets longer. An innovative idea that still received a patent even after more than 300 years of traditional piano making.
The "Dynamic Sound Bar" is clamped to the soundboard during the production of the soundboard. This regulates the flow of energy in the soundboard when playing at different volumes, thus ensuring a wider range of sound characteristics depending on the attack and volume. This is what we call high tonal dynamics. Depending on the size and shape of the soundboard, we use either one or two dynamic sound bars to achieve the best possible result. (see table)
We use pin blocks made of thin hardwood layers so that the instrument keeps its pitch optimally and is easy to tune. These pin blocks were developed by Schimmel in the 1950s as so-called "tropical climate resistant" pin blocks and have proven themselves over the decades.
Traditionally, pianos are equipped with small metal castors. From our experience, these are rarely used. The risk of damaging the floor is quite high. For this reason, we equip our pianos with high-quality gliders that are coated with Delrin from below. This allows for easier gliding on smooth hard floors and reduces the likelihood of damage to floors. In addition, the front gliders can be adjusted in height to compensate for uneven floors. This prevents the instrument from twisting and improves the tuning and the regulation stability.
Schimmel offers an extended manufacturer's warranty through its network of appointed dealers. Because we trust and stand by the quality of our instruments.
As early as the 1980s, Schimmel worked with computers to improve the design of its instruments, making the company a pioneer in the piano industry. Since then, the use of computers for research and development has been constantly further developed and today, under the name CAPE (Computer Assisted Piano Engineering), it represents a unique and all-encompassing software solution into which decades of development work and research results have contributed. On this basis, new ideas and designs are constantly being created that set standards in the industry.
On this basis, the use of CNC machines for the production of precision parts has been promoted since the 1990s. These are then added to our instruments exclusively by hand and are a prerequisite for achieving the highest quality.
Environmental protection and sustainability have been part of the company philosophy at Schimmel since the company was founded in 1885. This starts with the quality of our instruments. With a Schimmel instrument, you are purchasing a durable product that will be used for many years, often for generations. Which industry can say that it repeatedly receives requests for spare parts for its products that are more than 100 years old? Durability conserves resources. In addition, we manufacture our instruments from predominantly renewable raw materials - domestic wood from certified forestry and wool - and our cast iron plates are made in an elaborate process from recycled scrap metal. Wood leftovers and shavings from production are used to heat production in winter, and we generate solar power on the roof of the factory. Biofilters and a modern heating system complete our production. And of course, we produce according to high German environmental standards. This is true not only in our manufactory in Braunschweig | Germany, but also in Kalisz | Poland. In China, the production of our Fridolin instruments is environmentally certified according to ISO 14001 to ensure our high standards of environmental protection and sustainability here as well.
|Model series||C 121|
|Height (cm | inch)||121 | 48″|
|Width (cm | inch)||150 | 59″|
|Depth (cm | inch)||59 | 23″|
|Weight (kg | lbs)||249 | 549|
|Finish||Mahogany high gloss|
|Optional hardware to order||Chrome matte | Chrome gloss|
|Manufacturer||Wilhelm Schimmel Pianofortefabrik GmbH|
|Country of origin||Braunschweig | Germany|
|Keyboard||Finishing manufactured in Braunschweig|
|Keyboard coating||Mineral | Bakelite|
|Number of keys||88|
|Approx. keybed height from floor to underside keybed / keytop (mm)||682 | 767|
|Pedals||Piano Pedal (left) | Moderator/twintone (middle) | Tone control (right)|
|Installation of self player possible||no|
|Installation twin tone ex works | retrofit at dealers workshop*|
(* since manufacturing year 2019)
|yes | yes|
|Steel strings high performance spring steel with precise partial tone development||High-performance steel by Pitthan | Germany|
|Bass strings||made by Schimmel|
|Box frame construction with solid hard wood liners inlaid in mountain grown spruce.|
Combines high stability against bending forces with high energy reflection
|Three-dimensional crowned and tension loaded soundboard||with conical cut|
for definition see product details
|Bridge: solid beech capped by 5 layers of maple wood crosswise glued||made by Schimmel|
|Cast iron made traditionally||yes|
|Piano lid design||horizontal and vertical|
|Glider/castor as standard (exchange to glider / castor is possible upon request)||Glider|
|Soft close fallboard standard||no|
|High gloss finishes are made of premium piano lacquer by layering process and hand polished||yes|
|Manufactured according to following standards:||German Environment Standards|
Pianist, conductor, music producer Albert Mamriev was born in Dagestan and studied with his father – a famous musician – Yankel Mamriev, with Professor Alexander Bakulov and Professor Nikolai Kostylev at the Central Music School of the Tchaikovsky Moscow Conservatory, with Professor Sergei Dorensky in the Tchaikovsky Moscow Conservatory as well as with Professor Arie Vardi at the S. Rubin Academy of Music at the Tel Aviv University (B. Mus and M. Mus.) And at the Hannover University of Music, Drama and Media (solo class).
Albert Mamriev is prizewinner of many international piano competitions such as: „Gina Bachauer“ in Salt Lake City, „UNISA“ in Pretoria, „Vianna da Motta“ in Lisboa, „Scottish International“ in Glasgow, „China International“ in Beijing and many others.
In 1992 for his concert activities and the performance of the music of Dagestanian composers, Albert Mamriev received a very important award – the Lenin Komsomol Prize.
In 1996, he also received a special award – concert grand piano from the President of Israel, Mr. Ezer Weizman.
Mamriev gives concerts worldwide at numerous renowned festivals such as:
the „Shanghai“ International Festival (China),
the „Gina Bachauer“ International Festival (USA),
the „Hong Kong“ International Festival, (Hong Kong)
the „Jerusalem“ International Music Festival (Israel),
the „Kotor-Art“ Festival (Montenegro),
the „Malta“ International Festival, (Malta)
the „Piano Stars of the 21st Century“ Festival (Russia),
the „Ludwigsburg Castle Festival“ (Germany),
the „Pianotune“ Festival (Belgium),
the „Franz Liszt“ Festival (Italy),
the „Wernigeröder Schlossfestepielen“ (Germany),
the „Roccabrivio“ Festival (Italy),
the „Ailon Baltic“ Festival (Estonia),
the „IKFEM“ Festival (Portugal)
the „Madeira“ International Piano Festival (Portugal)
and repeatedly gives piano recitals and Masterclasses in many music centers around the world, including Almeria, Augsburg, Beijing, Berlin, Braunschweig, Brussels, Cleveland, Dallas, Düsseldorf, Glasgow, Granada, Hamburg, Hanover, Jerusalem, London, Los Angeles, Madrid, Mexico City, Milano, Moscow, Munich, Berlin, Paris, Reykjavick, Salt Lake City, Seoul, Stuttgart, Taipei, Taijuan, Tallin, Tel Aviv, Toluca, Venice and many others.
Mr. Mamriev has been a jury member at over 50 international piano competitions, including:
„UNISA“ (South Africa), „Ettore Pozzoli“ (Italy), „Parnassos“ (Mexico), „A. Scriabin „(Italy),“ Lyon „(France),“ Cantu „(Italy),“ Mozarte – Aachen „(Germany),“ F. Chopin „(Hungary),“ Cesar Franck „(Belgium),“ Young Virtuosos „(Czech Republic),“ Robert Schumann „(Italy),“ Spanish Composers „(Spain),“ Campillos „(Spain),“ Arcangelo Speranza „( Italy), „Valesesia Musica“ (Italy), „Maurice Clairmont“ (Israel), „Isodor Bajic“ (Serbia), „Young Talents with Orchestra“ (Italy), „Euregio“ (Germany), „Holland International Piano Competition“ in Haague, „Golden Key“ (Russia), „Piano Talents“ (Italy), „Delia Steinberg“ (Spain), „MIPF“ (Malta), „Astana Music Competition“ (Kazakhstan) and many others.
His students have won many international piano competitions, such as:
Anna Leyerer – “F. Liszt Center” IPC – 2021, 1st Prize, Spain
Evegeny Konnov – “UNISA” IPC – 2020, 1st prize, South Africa
Viktorija Bake – “Amigdala” IPC – 2019, 1st prize, Italy (young group)
Evgeny Konnov – “E. Pozzoli” IPC – 2019, 1st Prize, Italy
Lezanti van Sittert – “UNISA” NPC- 2019, 2nd prize, South Africa
Viktorija Bake – “Hannover-Beethoven” IPC – 2019, 1st Prize, Germany
Evgeny Konnov – “A. Scriabin” IPC – 2019, 1st Prize, Italy
Anna Leyerer – “Paris” IPC – 2019, 1st Prize, France
Evgeny Konnov – “Russian Music” IPC – 2019, 2nd Prize, Russia-Ryazan
Anna Leyerer – “Kyiv” IPC – 2019, 1st Prize, Ukraine
Shogher Hoveyan – “Hanover-Beethoven” IPC – 2018, 1st Prize, Germany
Igor Andreev – “Rina Sala Gallo” IPC – 2018, 1st prize, Italy
Evgeny Konnov – “Maria Canals” IPC – 2018, 1st Prize, Spain
Anna Leyerer – “Parnassos” IPC – 2018, 1st Prize, Mexico
Evgeny Konnov – “Cantu” IPC – 2018, 1st prize, Italy
Viktorija Bake – “Young Piano Stars” IPC – 2017, 1st Prize, Germany
Evgeny Konnov – “Malta” IPC – 2017, 1st prize, Malta
Lezanti van Sittert – “Young Piano Stars” IPC – 2017, 2nd Prize, Germany
Igor Andreev – “Gdansk-Baltic States” IPC – 2017, 1st prize, Poland
Evgeny Konnov – “Spanish Composers” IPC – 2017, 1st Prize, Spain
Pavel Kachnov – “Lyon” IPC – 2017, 1st prize, France
The complete recording of Wagner’s – Liszt transcriptions, and the world premiere of Ami Maayani Piano Concerto with Beijing Symphony Orchestra grows out of Albert Mamriev’s fascination for stylistic richness and the diversity of piano music, which was written between the periods of late Romanticism and the avant-garde, and his delight in the poses technical and interpretational challenges posed by this music.
Albert Mamriev is also a successful music producer. Under his direction, the “Neue Sterne” label released several wonderful CD recordings by very talented young musicians, including Alexey Chernov, Yuri Bogdanov, Romeo Zucci, Michael Bulychev-Okser, Grace Rhee, Andrei Stukalov, Elena Tarasova.
Albert Mamriev is also present on radio and television. Recordings of his concerts were made all over Europe, the USA, Mexico, Australia and Asia. He also gave several radio and TV interviews and interviews for music magazines, most recently including “Piano News”, “Piano Forum”, “Piano Wereld”.
Mr. Mamriev is the guest of honor at Classic Radio Orpheus in Moscow. In 2018, he was invited to a series of interviews on the program of legendary music journalist Joseph Tavor for 3 hours of live interviews and performances.
In 2021, Mr. Mamriev recorded a new CD album with compositions by Liszt, Brahms and Alkan. This recording was made in the Beethoven-Halle in Hanover under the direction of the world-famous record producer and Grammy winner Christopher Alder. You can find the recording on Spotify or directly on the artist homepage.
Albert Mamriev is the founder and artistic director of the international piano competition “Neue Sterne” in Wernigerode
and the international competition “Young Piano Stars” in Königs Wusterhausen
He is also the artistic director of the international music festival “Menorah” in Duisburg, the music festival “Jewish composers with a German background” in Hanover, the international piano and orchestra festival “Klavierissimo” in Wernigerode, the concert series “Junge Klaviersterne” in Brandenburg and the international piano competition the Neue Sterne Musikakdemie Hannover “Hannover-Beethoven”
Mr. Mamriev has been managing the online music platform since December 2020