Andreas Faranski

Andreas Faranski was one of the world's best transporters of concert grand pianos. The piano duo project relied exclusively on his incomparable expertise. Completely unexpectedly, he died in May 2022 shortly before his 50th birthday. A few months earlier, I had this very personal conversation with Andreas.

I talked to him about his passion for live concerts, his feeling for sound, and the difference between a concert grand and a sack of potatoes.

Mr. Faranski, as different as our jobs may be, I still think that in some way we share the same fate regarding our work – only in the rarest of cases does the audience have any idea how elaborate it is to do the pre-concert preparation of an outstanding concert grand. Probably even fewer people are aware that a particular instrument is not permanently based in a specific concert hall, but, as is the case with our piano duo project, it is often transported many hundreds of kilometers to be available for a concert or a recording. What would you say to someone reading this interview and claiming that the effort made is may be a little exaggerated?

You have to ask yourself why excellent pianists want to play on excellent pianos. That is the question! If there are ten instruments available in Hamburg, Vienna or Paris, why don't they want to play on any of these instruments? If they have no choice, they must play an inferior or unsuitable grand piano, but I think the pianists suffer because they cannot play as they wish and produce the sound they envision. They must improvise to produce beautiful music. They must improvise to satisfy the audience. However, this adjustment they need to make is not necessary when they play on a particularly good instrument or even their own. By "improvising" I don't mean that they play incorrectly – no, musicians always want to give their very best.

But it is impossible to play a poor instrument and get out of it what you might be used to from your own grand piano. The pianist, not just the audience, must be satisfied.

Pianists must also feel good and be happy about their playing. It's just a completely different experience to play an exceptional instrument. A grand piano is like a living organism – not just a piece of wood or any old instrument. I believe that pianists really look forward to playing their own instrument because they know it inside out. They know precisely how to play it and what they can expect and demand from it.

I still remember quite clearly how I became aware of you and your work. Just before a concert at the Alte Oper Frankfurt, I found the concert grand for which I had been responsible for many years and which I knew like no other instrument. It was in a completely different condition than I had been accustomed to previously. In most cases, I had to painstakingly catch and tame a piano after it had been delivered – like a runaway and distressed horse. However this time, it stood in the "stable" as calm as could be. I practically only had to groom and saddle it up. Consequently, not only was that less work for me, but the result of my work was and has been on a much higher level ever since.

Can you explain to me what the secret of good piano transportation is?

Actually, there is no secret to it. If you move a piano, you can treat it like a pallet or a sack of potatoes. Or, you can look after the instrument as if to say, "Ok, the grand piano is my responsibility, and I have to treat it as if it were my property." And there lies the difference between transportation and transportation.

If other piano movers felt the way I do, they would also operate differently. But often they lack the feeling for, or the connection to, the instrument and then it is just another job. We delivered the piano – job done!

I have noticed that the packing of a grand piano on stage after a concert can take you longer than, for example, the trip from Hamburg to Bremen or from Munich to Salzburg. When you deliver to a concert hall for the first time, what are the organiser's reactions to your, shall we say, unusual time requirements?

When I deliver to a new location for the first time, be it a philharmonic or a concert hall, people always ask me, "Why does it take you so long?" and I always respond, “Because that is how long it takes me!” – after all, the piano must be set up correctly.

"But the others get it done much quicker. They do it super fast, and then they're done!" But I don't do things "chop-chop." I must pay attention to everything. We can't have the grand piano crashing to the floor or getting pushed across the stage without its legs [laughs]. We have seen that too!

Also, I don't want to ruin my health. I want to continue doing this job for many years to come. Whether it takes half an hour or two hours doesn't matter to me at all! But that is probably the difference – it takes me longer, but then it is a job well done. Just as I am often asked "Why do you have so much stuff in the car, so many piano dollies and tools? Do you need to have this or that?" My answer is "Yes, I absolutely need that! Because it allows me to do the job on my own if need be."

And I don't simply chuck the grand piano out of the car! It is always moved as if there were two of us – even when I am alone. Sometimes I am asked "Are you always alone?" And I answer: "Not always. Sometimes Aneta, my wife, helps me!" [laughs].

Just to get this right: You don't need any help to transport a three-meter-long, 500-kilogram concert grand piano?

Let me put it this way: When I arrive somewhere, I actually prefer to be alone. I just need someone to let me in to the location and show me where the grand piano should be set up. I don't need an audience and I don't need people who always think they know best because they've seen it being done a thousand times before.

When did you start transporting concert pianos?

I began around 2003.

How did you come up with this unusual idea?

It was purely by chance. I met a pianist through acquaintances and he asked me if I would help him move his grand piano. I told him that I had never done that before. "Neither have I," the pianist replied, "but I heard that it's not that difficult."

First, we thought about how we could best accomplish it and watched a few YouTube videos. But what we saw there seemed so brutal! We realised that we are not that barbaric and that we would have to make improvements right from the start! That's how the story began. This particular pianist then recommended me to others, and that's how I got into these circles.

These days you move concert pianos for many of the best pianists and now the piano duo project will rely exclusively on your services. What does a typical job consist of? For example, what is entailed to move, a piano duo grand piano to South Tyrol? Let's say the pianist wants to rehearse at 7 p.m. and I have to start my work around noon.

Once I receive an assignment, I start by calculating the distance. In the case of piano duo the journey begins at my home. I work out the travel time based on the kilometers and allow for additional time should something unexpected happen – after all, my van could break down. In addition, I have to ensure that in case of emergency someone can help me swap vehicles in order to reach my destination – even at two o'clock in the morning. Based on this calculation, I know when I must depart in order to arrive at the concert hall in time – ideally, a day before the concert in order to allow the piano to acclimatise and settle down for 18 to 20 hours.

Usually, that is the way it works. However, on tour, we don't have that much time available. Often it is challenging to organise the handover at the next venue. After a concert, we can usually start packing, loading and securing the grand piano in the vehicle around 10 pm. All this takes about 1.5 to 2 hours before we can leave. Preferably, someone is waiting at the next destination to let us in – that's all I ask for. It often, unfortunately, depends on one person who we don't actually need, but who has to give permission for us to be admitted into the building. Getting this clearance is often a problem. But when everything works out, when everything is perfectly organised, it's an adventure and a tremendous joy.

Your expertise is in demand. Sometimes organisers and pianists reserve your transportation services well over a year in advance. You have the privilege of being able to choose your customers. Is it even possible for a normal piano owner to have his instrument transported by you?

Yes, if I have the time and if we get along well. For me, it doesn't necessarily matter so much whether I work for a concert hall, a philharmonic or a particular pianist. The important thing is that our expectations match. And, if we are both satisfied, then I don't see any difficulty providing transportation services for private grand piano owners.

Are there any requests that you turn down for reasons other than scheduling conflicts?

Yes! Many! For example, if there is a high risk involved and I think to myself, "I hope it goes well!" then I'd better refuse before I ruin myself. It is also crucial for me that at the location there are multiple routes available to access the instrument’s final placement. If the first one doesn't work, I try the next or, if need be, even the third.

What was the most extraordinary piano transport you have done so far?

The journey alone! It's another world there. The roads are only partly paved and there are few motorways. But when you have to drive across the Carpathian Mountains – with a grand piano [laughs] – then it gets exciting! You just have to add 24 hours to the journey. So much could happen! And the best part, of course, was when we arrived in Bucharest. The agent showed me the hall and informed me that there was no lift. What's more, I had to deliver while the festival was already underway! "You can bring it up the stairs with your equipment or you can carry it up – as you like! But mind the audience!"

Going up a straight flight of stairs is relatively easy, but winding stairs are not a laughing matter, it's really exciting! These sweeping stairs were as long as if going up to a third floor. That was suspenseful. So, I thought to myself, “Yes, I'll do that, that's my thing!”

I had a colleague with me at the time and afterwards, although we didn't use any physical strength, we were both drenched with sweat from the tension and concentration. Everyone applauded when we arrived. They had never seen anything like it and they told us that it usually takes seven men to accomplish the task.

I can confirm that. The quality of transportation has nothing to do with the number of operators. Even with eight movers, grands have tumbled down the stairs!

Yes! I think you have to have that certain touch. And when I do my work and reflect upon it, at that moment I know I am not just doing it for money. But being able to do a job, earn money, and have fun doing it – that's a dream come true! I think I have achieved that! And the reason I maintain my work at this level – or even try to improve it!

A concert grand piano is no featherweight. Once it starts to move uncontrollably, half a tonne of wood and cast iron can hardly be restrained. The instruments are insured but are nevertheless often irreplaceable. Are you nervous when you think of your responsibility, which goes far beyond a successful concert?

Well to be honest, I am always nervous! That's just part of it. Routine has no place in this profession. Due to routine, we have seen several concert grands destroyed. The teams were good, but it was routine to them – "We've done this a thousand times!". I don't know why, but I always have a certain degree of respect. I approach assignments as though it were the first time – a new responsibility, a new challenge.

You only live once – even as a grand piano. But despite this risk, as long as you feel the need to remain cautious, it can actually turn out well.

Have you ever had a situation where things got really dicey, I mean, a close call to a disaster?

[Reflects longer] Yes, once on a motorway. There are always crazy people. Someone drove right in front of my car and I had to make an emergency stop. However, for me, even when securing pianos, safety always comes first and that is why nothing was damaged, nothing! The grand didn't even move three centimeters! Just imagine if I had not tied down the grand properly, used the wrong straps, or the anchor in the truck itself had been incorrectly riveted – the piano might have ended up on the motorway!

As I mentioned in the beginning, the stability and steadiness of the instruments after being transported by you is enormous. To illustrate my point: Lyon, 14th February, 5 degrees plus, pitch of 442 hertz. Next concert: Hamburg, 2nd May, 19 degrees. In between: countless stairs, lifts, repeated tilting, setting up and reloading as well as 1200 kilometres travelled. Pitch in Hamburg before tuning: 442 hertz! So, within one year, you drove a highly sensitive grand piano thousands of kilometers all across Europe without significant changes to the instrument. Apart from driving safety, how important are the travelling conditions for the instrument? Do you have any special fittings in your “Wunderwagen?”

My van is not just made out of sheet metal. The walls are thick because they are well insulated. I have a heater in the load compartment and the doors are kept closed during the entire transport! I also have a thermometer to always ensure a temperature between 19 and 20 degrees in the hold. The fastening of the grand piano is critical too. If it's not one hundred percent tight and just slightly "trembles" then the effect on the instrument is as if you had been working with a jackhammer all day – All right, but I'm not going to give away all my secrets now![laughs].

Ok, I understand…but I will note down what you said. On average, how many kilometres do you drive per year?

When everything goes well and I have plenty of assignments, I drive about eighty, to one hundred thousand kilometres per year. That's why I have to replace my vehicles every second or third year.

So you must also be a passionate driver...

Yes, you have to like that too! But I have a lot of time to think about while travelling. I can make my plans, organise something, correct it and think about what to expect. And when I'm back home or in the hotel, I just need to sort everything properly. I use the time - and I have my tranquillity!

Speaking of passion, you often attend the concerts that you help make a success. Since when have you been interested in piano music?

Music has always been special to me. No matter if it is classical, rock, blues, jazz or whatever. I could never live without music. Now that I travel with concert grands, I have fallen in love with classical music. I got to know it better and understand it more and more and therefore I increasingly enjoy it and nowadays it is my top priority. But the best thing about it was that I always got to be there live! That was awesome!

One day I made an experiment. I played something on the radio to one of my helpers, who knows a bit about classical music. After ten minutes, he had enough of it and wanted to tune in to something else. So apparently, he wasn’t that interested. Later, I took him to a concert, where we happened to hear the same piece live. My colleague was totally fascinated and said, "Not all classical music sounds the same. You can only feel the emotions during a live concert, not on the radio or some other device. As far as I'm concerned, they can play for another three hours. I'm not going anywhere!" He felt it, and that was the difference!

Why is that? I think it has to do with emotions. You can use music to make your life easier or even really enjoy it. You can start dreaming. You can begin to understand music. But, in my opinion, there is not device that can replace live music, which is fascinating. If there are a thousand people in an audience and only one person clears his throat, everyone hears it – normally no one would. The audience is so highly focused and that's the reason this energy is present.

Do you play an instrument?

No.

Did you not want to play one?

Yes, I did try [laughs] but I never got to the point where I could say I can play it. I am not a natural. I believe not everyone can become a pianist, not everyone can become a technician, and not everyone can become a good piano mover. We all have a certain role in life and, no matter how it is perceived you have to be at peace with it because every role is significant.

Often the two of us shift a grand piano the last few meters on stage to find the perfect position and to ensure the best sound in the hall. I have noticed that you have a very fine sense for the sound of a grand piano, a concert hall, and the pianist. How did you acquire this skill?

I think it was the good Lord, but where I got it from exactly, I don't know.

But you know that you have this talent?

Yes. But it is not my job to decide where a grand piano is positioned.

How would you describe your very personal favourite sound?

[Ponders for a while] There are so many sounds and tones that I can't describe it. I don't know. But when I hear the same piano piece played live by two different pianists, I know with my eyes closed, this sound is where I feel at home and this is what I want to hear! During a concert I could describe this sound, but not now.

I assume that you mainly handle Steinway instruments. Can you also transport pianos of other brands or are there technical differences that you would not be prepared for?

No, not really. I could also move other brands, but I don't have time for it.

Speaking of differences, our piano duo project features two Steinways from different decades, you could even say from two centuries. Do you notice a difference during their transport? Do they differ in shape or weight, for example?

Yes, old pianos are heavier. As the technology has evolved, each screw and part became just a little lighter—with a thousand parts it makes a difference in the total weight.

Another similarity between our very different professions is the lack of top quality in the top segment of the concert industry. In other words, despite how superbly the instruments are built, the challenge is to get them to the pianists in top condition. What is your opinion why there are many good piano movers but few excellent ones?

As I said earlier, it depends on whether you simply do something or whether you actually enjoy it. That is the difference. You can learn it all it's not magic. But you also have to want to learn how to do it.

Money plays a role in everything these days; people always want things to be cheap. Do you think that this bargain-hunting mentality results in clients having difficulty finding a piano mover who identifies with the profession and is passionate and enthusiastic about it?

There are people who would like to do this job, but they don't want to be self-employed or do the paperwork or do this or the other. They simply want to move pianos. But that's just not how it works! And again, you get to the point where you think to yourself that he could be very good but somehow he doesn't seem to want to be. As a self-employed person, he might be able to earn as much as he would working for someone else but then he wouldn’t be able to call it a day after eight hours. And there you have the difference: 9 hours or maybe 18 hours for the same pay. My view is that I may earn less money, but in return, I experience much more than everyone else. Maybe I won't live as long, but for what I have experienced other people need two or three lives. Many don't appreciate that at all; they don't know and don't want to know.

Do you think there are enough people who would appreciate and value high-quality transport services? Is there a market for quality at all?

Yes, the market is there! By all means! But there are also always people around who don't value this quality, but say, "Oh, its so expensive!" "We can book another company. They will do just the same." Only the pianists take note of the difference between my transportation service and that of the others. But those who broker, organise, and compare prices don't notice the difference and they don't have to play on the piano. For them, it's all the same – except for the price – and my prices are higher.

How could this gap be filled?

There could be so many good piano movers. And there are so many who would like to do this work. But they don't have the means to invest money in their equipment and their training. They simply cannot afford it because of agents and clients, who just want to find cheap transportation and don't consider the difference in quality. That might not be relevant if it's a piano stool, but it is in the case of a grand piano.

You could, of course be entirely indifferent for whom and for what occasion you transport a grand piano. Nevertheless, the question is, what do you think of our piano duo project?

What are your wishes for the future of the classical concert scene?

That the music scene stays the way it is and not decrease and, also, for young artists not to find it even more difficult to assert themselves. We should always be aware that the artists earn money for all of us working for them. We should recognise the importance of music in our lives.

Mr. Faranski, thank you for your time!