As a child, Mike Reiter discovered that learning is universal and not contained to just the classroom. His father was a high school science teacher and his siblings and he were required to share what they had learned that day, whether they were in school or not.
“His insistence that ‘the day was wasted if we didn’t learn something’ still rings in our ears today,” he says. “It could be as simple as playing a scale properly to that really complicated geometry problem, or even if I learned how better to deal with the difficult person down the street.”
This life motto comes in handy every day, as Mike’s role of piano tuner for the University of Oregon School of Music and Dance and the Oregon Bach Festival.
“I pass it along to everyone around whether they wish it or not,” Mike laughs.
Taking Care of UO’s Instruments
His department does a lot of triage, maintaining 125 pianos and nine harpsichords.
“The concert instruments require great scrutiny to meet the artist’s demands,” he says. “It’s time consuming and requires the concept of always moving forward. There is no time for “do overs”.
Mike also asks a lot of questions and has a willingness to help out other technicians and explain procedures. While working with his work study staff, he wants them to know what they are doing to help out and why they do procedures the way we do because, with rare exceptions, they are likely not going to pursue a career in piano technology.
“I have finally learned to respect the work that someone has done before me and find ways to praise the work and continue on from that point. I might have to back track a bit to make the piano ‘mine’ but I will find a way to carry forward without blasting the previous technician,” he says. “I think the basic premise here is to provide an opportunity for others to think for themselves. They can them claim their own victory over the situation.”
There have been a number of instruments over the years that remained special for Mike.
“There was a little bentside spinet harpsichord that was just a joy to build and play. I was sorry to send it off but the owner cherished it and that’s what is important to me,” he says.
Technician As Artist
Mike isn’t only a piano tuner; he is a performer, as well. He has done work as church organist as well as solo harpsichord performances. He recently performed an organ recital for the AGO Lenten series, with no “real projects” lined up right now.
When he prepares for these performances, he listens to recordings of proposed pieces for performance and take in as many samples as possible, being critical of the music. He then puts that together with his own musical judgement.
“Practice, listen, practice to listen, listen to your own practice and performance and lots and lots of critical thinking about your own playing, and own your playing,” Mike advises.
Mike hopes what he is remembered for is making a difference to the instruments.
“I would like to think that my work will be around for a long time, but alas, it’s not the nature of the tuning biz. All that we do is temporary. It’s perishable like ice cream,” he says. “Once that beautiful tuning is gone it must be recreated for the next player. But did we make a difference for the present and did I pass on some small bit of craftsmanship to the next person to use or enjoy?”
Mike thinks that accessibility is key to offering quality music education around the world. He knows of two projects that moved older pianos to other countries, particularly Cuba and Africa. It’s key to getting younger people involved to improve the future of the arts. And he has been able to play world class instruments himself, an inspiration to his own work.
“We can’t continue to rely on the older generations for our cultural heritage,” he says.
To learn more about Mike Reiter, visit his University of Oregon page.
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