In November Petrof ran an international competition to name their new piano. With the winner announced on December 1st.
As a part of this competition, they were looking for a name for their newly redesigned P 131 M1 piano.
They received almost 13,000 name submissions from all over the world. The proposals they received were fantastic and it was a difficult task to choose only one name.
The prizes are P 125 M model pianos, with one going to the author of the winning suggestion and the other to the art school chosen by the winner.
After much deliberation, the jury chose the name "FLOW" for the piano.
As part of the evaluation, they decided to name their upright pianos in connection with the nomenclature related to water and waterways. The English word "FLOW" can be used in both connotations with the flow of water and wind (our grand pianos are named after the types of wind), so this upright piano can draw an imaginary link between grand pianos and upright pianos thanks to its name.
The word "FLOW" also refers to an activity during which we forget time. It's a state where we really enjoy something. And that's the state of mind we want to convey to the players of our pianos.
The proposal for the name "FLOW" was first sent in by Jacob Hamborg from Denmark.
Congrats to the winner!
If you have spent any time on YouTube, Spotify, or TikTok in 2026, you have almost certainly heard it: the unhurried piano chord, the soft crackle of vinyl, the gentle rain in the background, the tempo that never rushes. Lo-fi music — specifically its piano-centered variants — has become the defining sonic backdrop of concentrated work, study, and intentional rest for a generation of listeners. And it is doing something unexpected in the process: it is turning passive listeners into curious beginners.
Something is happening in piano studios across the country that teachers from a generation ago would find surprising, and perhaps gratifying: the students walking in for first lessons are increasingly not children. They are adults in their 30s, 40s, 50s, and beyond — people who took a few lessons as kids and stopped, or who never started at all, and who have decided, in 2026, that now is the time.
Every few years, a piano competition produces a result that changes the conversation about what classical music is, who plays it, and where it is going. The Van Cliburn Competition's 2022 discovery of Yunchan Lim was that kind of moment. In 2026, the competition circuit — from New Orleans to Salt Lake City to the Pacific Northwest — has continued to surface talent that makes a compelling case for the health of the art form, even as the broader classical industry navigates a complex moment.