A Different Kind of Piano Guide by Steve Siu
Throughout my career, I have performed on hundreds of piano, from the most inexpensive instruments to the most exquisite. I would like to share with you my opinion on certain pianos from a performer's perspective, and I would like to do so in a comparison with an automobile for each piano, so that more of you can relate and understand the essence of the instrument a little better. Please understand that this is not by all means a comprehensive piano guide; but rather, a connoisseur's perspective on a selected group of grand pianos.
In the automotive world, the Japanese are known for building reasonably priced, quality, low maintenance, and reliable vehicles. The Koreans are catching up with the Japanese with these qualities as well. The Chinese, on the other hand, are still trying to perfect their manufacturing and engineering process and they are making significant progress the past few years. European automakers, particularly the Germans, tend to focus more on performance engineering, cutting edge technology, and lots of electronic gadgets, and their cars in general are higher priced compared to their Asian and American counterparts. American automakers for the most part make an adequate product, some are actually quite wonderful. But some of them still suffer from a perception of lower quality standards, often yields to a less satisfying driving experience and sub par reliability. As you will discover, there exists many parallels between the piano industry and the automobile industry. You will probably never hear pianos being described and compared to this way, but it actually makes a lot of sense.
Asian Pianos
The Conservatory Series Yamaha grand piano is like a Toyota. Both are good quality products build in Japan with superb quality control standards. The Yamaha C1(5'3) is a Toyota Yaris, The C3 (6'1) is a Toyota Corolla, the C5 (6'7) is a Toyota Camry, and the C7 (7'6) is a Toyota Avalon. With that said, they are not built for the more discerning driver who prefers more performance and luxury. To achieve that, we are talking an S Series Yamaha, which is more like a Lexus - a refined luxury automobile. S Yamahas are manufactured at a different factory using higher grades of material and hand made workmanship. They are designed to compete with the finest European pianos. I do prefer the S Yamahas much more than the C Yamahas (the sweet warm tone is just not there. They sound way too bright/harsh for many people's taste, including mine), particularly the S4 (think Lexus IS 350). It is just the perfect size piano (6'3) to put in a home. All S series pianos produce a very warm tone and Yamaha makes an action for them that is very satisfying to play. With that said, A S6 (6'11) would be the Lexus GS 430. The Flagship CFIIIS concert grand (9'0) has the same stature as the ultimate Lexus LS 460 - arguably one of the best premiere luxury sedan on the market.
Kawai pianos (also made in Japan) are like Hondas. Keep in mind that unlike the US, where Honda as a brand is regarded as an every day practical transportation tool without much prestige, in Japan, Honda carries a stature as a very prestigious brand that is renowned for its state of the art engineering. Similarly, Kawai pianos are marketed as the world's most technologically advanced pianos. Their innovative scale and action design is parallel to Honda's ground-breaking engine development in regards to environmental friendliness and fuel efficiency. And just like Toyota's Lexus Division, Honda has its own luxury brand called Acura. Well, a Shigeru Kawai would be like an Acura, except that they are very expensive! In my opinion, the Shigeru Kawai is the finest Japanese piano being made today - exceptional workmanship, superb action (it feels to me even a notch better than the Yamaha S and CFIIIS), and a tone that is so uniquely gorgeous. This is truly one remarkable instrument.
For the Korean piano makers, Young Chang is a Hyundai, and Samick is a Kia. Both Hyundai and Kia used to suffer from a poor quality perception, but not anymore, especially Hyundai. Now with a new blood of completely redesigned models build mostly in new state of the art factories in America, Hyundai automobiles are quickly catching up with Toyotas and Hondas in terms of quality and reliability, but the performance aspect still lags a little behind the Japanese, and they are a notch more inexpensive then them as well. Same thing could be said for Young Chang and Samick pianos. They are getting much better compared to 10 years ago and if budget is a big concern, they make an adequate piano for the average student for practicing - again, "Adequate", "Average" and "practicing" are the key words here. You will not see one of these pianos in a prominent concert stage, and probably never will. However, Young Chang does have an upscale line of pianos called the Bergmann Heritage Series that are quite impressive relatively speaking for their market segment.
American Pianos
I will briefly comment on three popular American brands. There are many parallels between General Motors and Baldwin Piano Company. Both are household American brands that started around the same time, and both went through numerous ownership changes. In the US, Baldwin has the biggest market share of acoustic piano market, and GM has the biggest share of the auto market. It is fair to say that GM in general, with the exception of the Corvette (the piano equivalent of that is the Baldwin SF-10 concert grand), is not known for manufacturing exciting performance cars. Same thing could be said for the Baldwin Piano Company.
A good size Mason and Hamlin piano brings in mind the Ford Shelby GT500, which is the direct competitor of the Corvette. The Shelby GT500 is a classic American performance sports car with a respectable heritage and limited production number (only about 250 Mason and Hamlin pianos are produced every year). Those who purchase such a car are skillful drivers who know how to drive fast with an attitude and push its limits and does not confirm to the norm. Likewise, pianists who prefer the Mason and Hamlin piano are drawn to its signature American sound - a powerful stringy tone that is full of higher harmonics, verses the clear, transparent tone that is usually found in higher end European pianos.
American made Steinway, or New York Steinway, is a modern Mercedes Benz. (I am aware that MB is known as a German Car, but don't forget that Daimler Chrysler bought it a few years back) It is a status symbol in our society, and it has the perception of being the best of the best. The smallest of the Steinway Model S (5'1) would be the Mercedes C 230 sedan. Model M (5'7) would be the C 350 sedan. Model L would be the CLK coupes. Model B (6'10 ½), the most popular model among professional use in recording studios/jazz clubs/medium size concert halls and churches, would be the best selling E class sedan. Model Cs (7'5) are rare to find, but they do exists, especially the New York factory recently started building them again (used to be the case that only the Hamburg factory was making them). I would contrast the rare Steinway Model C with the uniquely crafted CLS 4 door coupe, which is more or less rare to find on the streets of America, unless you live where I live (Orange County, CA) and you will see one every 10 minutes on Coast Hwy in Newport Beach. The Flagship model, the 8'11 ¾ concert grand Model D, found in almost all the famous and not so famous concert halls around the world, is the equivalent of the Mercedes Benz S class sedan, its flagship model. The Steinway Crown Jewel Collection, premium priced instruments marketed as pianos meticulously crafted from the rarest and finest woods, would be the equivalent of AMG Mercedes, where each AMG engine is race inspired and handcrafted. With all these said, please allow me to candidly share with you my observation of the New York Steinway pianos, which is pretty much 97% of the Steinways you see in America.
Let me start by saying that I have performed on probably close to 100 Steinway pianos in my career, from baby grands to concert grands. I have played on around 40 Steinway Bs, and may be 20 concert Steinway Ds, this is so that you know my conclusion about Steinway pianos is not based on just a few instruments. Many of you hardcore Steinway fans will probably disagree with me on what I am going to say, and that's OK. But the truth is, and many technicians and dealers will tell you the same, including Larry Fine, the author of "The Piano Book", Steinways are not the same great pianos that they used to be in the earlier part of the century. In fact, for the price you pay, it is quite a disturbing instrument. New Steinways are the worst. If you don't believe me, go play one at a dealer. The treble is a joke - very soft, weak, and muffled sounding. The Steinway action usually fights with you, rather than rewarding you with your commands. A great piano action should make the pianist feels almost effortless - it feels as if the keys actually play for you. The hammers are usually way too soft to begin with also. Even the cosmetic of the keys are not perfect sometimes, it is as if the factory is shipping out unfinished pianos. In general they require very high maintenance and prep work to bring out their true potential (things that should have been done at the factory or dealer before the piano is delivered, but never got done), and my guess is that very few Steinway pianos actually receive the proper care and prep work that is required to bring this instrument to a world class level. For example, at the Montage (where I perform daily) we bought a new Steinway B in 2003 when the establishment opened. Since then, we have had to replace the piano with new Renner action parts and hammers after a year of use, almost 20 strings have been broken since, and I truly do not play intensely, as you can tell from all the demos on this site. Tuning stability is also below expectation for the instrument of this caliber. Some of the plastic keys are not cut perfectly from a cosmetic standpoint. For a piano that costs more than $60,000 US, I expect more. For these reasons, I have concluded that like the modern Mercedes, Steinway is basically a great American marketing machine and a status symbol that makes the uninformed consumers think it is the best and I must have to have that in my living room or garage. But in reality, it is not even close, especially in the case of the Steinway. I'll take a Yamaha S6 over a new American Steinway B any day. Please know that this is not some bizarre observation or personal outrage towards the company. Just go to the dealer and judge for yourself. However, I have played some wonderful rebuild Steinway pianos with Renner parts in them, but I have never been impressed with the new ones produced after 1970.
One may argue with this counter argument: "If New York Steinway pianos, particularly the new ones, are as bad as what you say they are, then why over 90% of the concert pianists in the world prefer a Steinway?" My explanation is this. Over 50% of them actually live outside North America where they get to play the Hamburg Steinway. The Hamburg Steinway is a different instrument manufactured at a different factory from the New York Steinway. In fact, it is one of the best pianos in the world, as I will describe in the next section. That leaves 40% of them playing the New York Steinway. My feeling is that 20% of them simply are so brain washed to play a Steinway since they are little, therefore they question very little, if at all, about the integrity of the instrument. This is just like most traditional Chinese are told that you have to be seen driving a 3 pointed-star when you are in the process to achieve success - same idea. The other 10% falls into my water melon-chocolate fudge theory (I was one of these people when I used to worship Steinway many years ago). Let's say your whole life the sweetest thing you have ever tasted is the water melon and that's your definition of sweet. Suddenly one day you discover chocolate fudge - and from that moment on you don't think the water melon is the sweetest thing anymore. Many pianists are usually presented with either a Steinway or a Yamaha 9 out of 10 times in a professional setting or music school in America. They are rarely exposed to premier European made pianos like the Hamburg Steinway, Seiler, Bosendorfer, Fazioli, Grotrian, Bluthner, just to name a few. Once they do, they may very well prefer one of these pianos over the New York Steinway. The other 10% actually in a regularly basis get to play on supremely prepped and serviced Steinways by superb technicians trained at the factory. These pianos are rare to find, but they do exists at major Universities and concert halls. I have played on a few of these - I almost feel that Steinway spends more time and details on these concert pianos because they know it is going to be played by distinguished concert pianists and heard by discern listeners. They feel and sound totally different from the ones that are in retail stores.
Another question I often receive is this: What about legendary concert pianists like Horowitz, Rubinstein, Gilels, Cliburn, or even Roger Williams? Why do they all insist on a Steinway? The answer is very simple - when these legends were at the prime of their careers, we are talking around the mid 20th century (roughly between 1940 - 1960), New York Steinway did made one of the best pianos in the world at that time. From what I've read, it is not until after 1970's that the quality of their workmanship started to go down hill. Deep down in my heart I do feel that Steinway does set the standard in piano making in many fronts both from a manufacturing and engineering standpoint. The company just need better quality control and spends the same energy in prepping their new instruments when they leave the factory as they do in marketing the instrument, in which they are brilliant.
European Pianos
Steinway also operates a different factory in Hamburg, Germany, which serves a great majority of the European and Asian markets. Hamburg Steinway is a completely different kind of animal from their American counterparts. They sound and feel different because they use different parts and materials, and German workmanship and engineering are much superior. The result? One of the best pianos produced in the world. I would say it is the equivalent of a Porsche. If money wasn't an issue and I can only have one piano for the rest of my life, I would chose a 6'11" Hamburg Steinway model B (a Porsche 911 4S turbo) - a heavenly instrument that allows the pianist to translate every ounce of his desire effortlessly while producing a tone that is simply irresistible. Some of you may ask why I don't want a 9 foot concert grand piano in my house. Personally, I think it is over kill. Unless you are playing in a concert hall or a big church, you really don't need that kind of power, not even in a recording studio. It is like having a race car with 600 horse power and you can only drive on the Freeway. 350 hp is more than enough, if you know how to drive. If you don't, you should start with something more modest anyway. (A side note - when you are listening to my catalog of over 300+ recordings on this website, including all of my 10 CDs, you are hearing the gorgeous sound of the Hamburg Steinway.)
If the Hamburg Steinway is a Porsche, then what piano would be a BMW? Have you heard of a brand called Seiler? In general, BMW is a performance oriented car for the mass consummate driver who enjoys driving. Its essence is similar to that of a Porsche, but it is more common on the street due to the fact that while it is not cheap, it is way more affordable than an equivalent Porsche. Same thing applies with Seiler pianos. Wonderful instruments that I can't stop praising about, except that in the US one may have trouble selling it in the used market due to the unfamiliarity of the brand here. Seiler verticals (up right pianos) are some of the best vertical pianos. It almost feels like a grand due to its patented super magnet repetition. It reminds me of the BMW 3-series - a class leader, fun to drive, great handling, stylish, and relatively affordable sport sedan!
What German car company also carries the similar prestige and engineering philosophy as BMW? Audi of course. Audi usually is just a notch cheaper than their BMW counterparts. They do feel a bit different when you drive it compared to a BMW, but make no mistake it is a German engineered automobile with a distinctive feel and style. Think of a Schimmel piano as an Audi. Schimmel pianos process a transparent, "bell like" treble that I appreciate very much. The Diamant Edition K 189 DE model designed by Nikolaus W. Schimmel would be an Audi S4, and the K 213 DE model would be an Audi S6.
Petrof pianos, made in the Czech Republic, is a Volkswagen. Volkswagen is a good alternative for the average consumer who does not want to drive a Japanese or American Car and does not want to shell out the bucks for a BMW, Audi, or a Mercedes. Well, if you don't want to buy a Yamaha, Kawia, or a Baldwin and still want to find something relatively mainstream in the same price range and get a decent instrument in this segment, you should consider a Petrof. Petrof's price point is significantly below than that of a Schimmel or Seiler, but it is still a respectable piano with renner action and a warm, rich, singing tone, full of color. A good Petrof piano can make a tremendous value.
Now let's talk about the Aston Martin, Ferrari, and Lamborghini of pianos. These are exotic brands - meaning that they are exquisitely engineered and styled for the discriminated and affluent auto lovers, and they are, more or less, rare to find and outrageously expensive.
Grotrian piano resembles an Aston Martin automobile. Aston Martins have an understated elegance about them that makes them so irresistibly gorgeous cars. Grotrian pianos produce the same irresistible gorgeous sound: extraordinary treble sustaining characteristics, a subtle and delicate sound of attack, powerful bass without any stridency. It is definitely a unique performance piano with a distinct personality.
Ferrari is a one of a kind exotic sports car that has a distinguished heritage and history. Some will argue that they are the best sports car on the planet. They have the speed, handling, and braking power that are second to none. They also have a signature look that cannot be mistaken. A Bosendorfer piano is just that. You can spot a Bosendorfer piano from afar because of their shape - a differently shaped rear rim than other brands. One of the most expensive pianos in the world inch for inch, let me say, they are worth every penny. Playing any Bosendorfer piano is an event. They whisper effortlessly. The action is flawless, the piano plays for you. Their sound is very clean, transparent, and sweet - perfect for baroque, classical, and chamber music. I would still prefer a Hamburg Steinway for a more powerful performance such as a Rachmaninoff concerto or a Chopin Polonaise. The Hamburg Steinway is generally regarded as a more well rounded piano and in certain places or settings in the world (we are talking piano politics here), a more well known and respected brand. So, if money was not an issue and I can have a second piano, it will no doubt be a Bosendorfer. One of the most unique aspects about the Bosendorfer is that the rim is made of spruce instead of maple or beech, it makes the case an extension of the soundboard. Because of this, even a 7 foot Bosendorfer grand can sound very full and powerful, almost like a 9 foot concert grand made by other brands.
Everything about a Lamborghini spells opulence and over the top engineering and performance. It is also an Italian made machine, often mention in the same sentence as Porsche and Ferrari. The last piano I'd like to discuss is the Fazioli, also an Italian master piece of design and engineering. Everything about the Fazioli is over the top - an incredible level of detail has gone into the design and construction of these pianos. For example, the selection of woods. They are obtained from the Val di Fiemme, where Stradivarius reportedly sought woods for his violins. Each piece of wood is said to be carefully tested for certain resonant properties before being used in the pianos. I have the privilege to play on different kinds of Fazioli pianos each January in an industry trade show called NAMM (the same place where I audition some of the fine pianos being discussed here). Every time I lay my fingers on these pianos, I cannot retract my fingers from it. It provides me with an out of the world performance experience that is difficult to put into words. This is one extraordinary instrument in every regard - it seems like every aspect, from the response of the action, the sound and feel of the attack, the workings of the peddles, the power of the bass, the singing character of the treble, the ability to whisper effortlessly and also scream effortlessly, is just perfect. It is certainly in the same caliber as the Hamburg Steinway and Bosendorfer. The only thing Fazioli missing is heritage and a well known brand perception among the general public. Steinway was founded in 1835, Bosendorfer in 1828. Fazioli is a relatively new piano maker, founded in 1978. For this reason and this reason only, I will select this as my third piano to own, if money wasn't an issue - and it better not be an issue. Fazioli pianos are the most expensive pianos in the world today, but also arguably the very best. It is interesting to note that Fazioli also makes the largest grand piano in the world today - a 10'2" monster - that is the equivalent of a super car with 800 hp.
Some of the piano enthusiasts reading this may wonder why I did not comment on such legendary piano manufactures like Bluthner, Bechstein, Steingraeber & Sohne, August Forster, as well as up rising stars such as Estonia. First of all, I do not claim to be a "know it all" in this subject and as a performer, I simply have not had enough exposures on these brands in the US to make an assessment, where these fine instruments are considered uncommon to be found on this side of the Atlantic. However, it is interesting to note that I have heard from another piano aficionado to weigh against a Bechstein to a Jaguar, an August Forster to a Meserati, a Bluthner to a Bentley, and a Steingraeber & Sohne to a Rolls Royce.
I guess you have discovered by now that in addition to piano, I am also an automobile lover. On a personal note, I own a Yamaha S4 (6"3') and a BMW 645ci (325 hp). I would like to thank Larry Fine, the author of the Piano Book (which I higher recommend) for some of the technical information quoted here. I hope you had fun reading this article.
P.S: For those of you who are not familiar with Renner action, it is an industry respected company that designs and manufactures piano actions for different piano manufactures.
