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Hey guys!
I have played so many different types of piano that it becomes exceedingly difficult to pick my favorite piano!I am super partial to Yamaha - love their instruments, I would say that the "feeling of the keys" is always so precise and pleasing. I just know when I see a Yamaha (especially CFX) that I am going to get an instrument that is perfectly poised to give me all the opportunity to execute repertoire as I wish!
I also adore Fazioli pianos, their sound is like diamonds - most incredible in a concert hall. But also their baby grands are so nice in living rooms! The sustain on these instruments is incredible - the strings never stop vibrating!
Special mention goes to Shigeru Kawai, since they often have the most earthy and rich tone I have ever heard on a piano.
I could go on all day about pianos, but those are 3 instruments I love to see on stage!
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Dominic Cheli
It is delightful to hear your perspective on pianos, Dominic! -
Dominic Cheli I’m not sure my reply showed up since I didn’t have the @ in the response. So I’m copying and pasting what I wrote:
Dominic, you’re right on target! However, my preference from a lineup of favorites is Fazioli, hands down!
I’m one of the lucky people to own one due to a student bequeathing it to me; the instrument was brand new at the time (2011).
While it can be argued that all flagship pianos (9-footers) of the major manufacturers are comparable in quality, Fazioli comes out on top, especially with their smaller grands.
The parlor (F183) and studio (F212) sizes have a presence of bass that I’ve never heard from any of the other competitors. It’s like you’re playing a piano that’s a foot longer!
FYI, I’ve been involved with cutting-edge research concerning keyboard design (I’m a consultant with a particular company) and can say without a doubt that Faziolis have the longest sustain rate.
In addition, the amount of fall-off in sound is minimal, which emulates more the qualities of a human voice. This is not surprising since their philosophy of tone production is very much aligned with the bel canto period of singing.
I’ve known about these incredible instruments since 1997 and have had the privilege of meeting Paulo, who owns and runs the business. along with his son, Luca. It’s been such a pleasure having extensive discussions with them, too. That is why I have this kind of perspective on these pianos.
Dr. Richard Bosworth
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Bösendorfer
The company is obsessive about tradition and craftsmanship, and absolutely uncompromising in quality. I’ve watched their craftsmen and -women in the factory spend 15 minutes making parts entirely by hand that could be made in seconds by a machine—parts that are buried within the instrument that no one ever sees except them, and that have no influence on the actual sound.
They stand out even among high-end manufacturers for their incredible attention to detail. They’re the only manufacturer to use single stringing, for instance, which involves double the work but results in greater tuning stability.
Bösendorfers are also famous for being shipped from the factory in Austria halfway around the world, where they often arrive still perfectly in tune.
Nothing against other outstanding pianos, which I also very much love, but Bösendorfer’s reputation as the Rolls Royce of pianos is well-deserved.
(In the interest of disclosure, I’m a Bösendorfer Artist, due to nothing but my admiration for their extraordinary instruments. This post reflects my personal opinion purely independently of my representation of the company as an artist.)
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Albert I am not very experienced with different brands, but I adore the Bösendorfer sound, especially the bass! I tried one for fun and even though I don‘t have the skills to make the most of it it was a very beautiful experience.
If one day, space, money and skills are not the issue, those would be in the top three.
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Albert I agree completely. Their treble is powerful and mellow at the same time. The factory near Vienna could trace the 2 technicians who built mine.. There are only 2 people who are assigned on a piano in their factory. All hand done. Even the curves of the piano is made of the same spruce as the sound bound. So it is a sound box on the grand. I don’t deserve it.
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Currently, I have rented a Kawai K200 and I am very pleased with it. The upper range is sparkly and the bass is decent and not rattling, despite the small size. I really like their grands „earthy and rich tone“, as Dominic called it.
Other than that, I am partial to the three B‘s-Bechstein, Bösendorfer, Blüthner, particularly the warm expansive clarity of Bechstein and beautiful strumming bass of Bösendorfer.
Would be great to own a Bechstein C8 or A190 or a Bösendorfer 170VC or 185VC one day.
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I have an Estonia. Admittedly, it drives like a tank but when it has been regulated and tuned, I am astonished at how much control I have over the sound. It is super rich and full of nuance. I just love it.
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While it is a far smaller company and lesser known brand, I have been playing on a 1985 Charles R. Walter Studio Upright piano for the last couple of years and absolutely love the sound. I had previously been quite partial to both Steinway and Borsendorfer, but I really fell in love with the sound of this piano.
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When I looked for my piano about ten years ago, I was a bit embarrassed to play them in a showroom, and felt odd playing really nice pianos as an intermediate. The salesmen/women, however, often told me that people ending successful careers and coming back to piano were their best market segment. I played many different models, from Steinways, Bosendorfers, Yamahas, Kawais, etc. There were instruments I liked and disliked in every brand. I ultimately purchased a Mason and Hamlin Model A (baby grand). It has a wonderful action and beautiful tonal qualities, and allows me to play softly with some control and has plenty of power for my house. When I sat and played it I knew immediately that it was the one I wanted.
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Steinway and Yamaha. I love the Steinway sound, unique as a result of the woods used and its manufacturing processes. I bought my first one at Steinway & Sons in NYC many years ago. Choosing it was quite the experience.
Yamaha is my second choice. Manhattan School of Music had Yamaha pianos in all practice studios when I studied there. A fantastic workhorse. And Yamaha is the one acoustic piano company that’s been investing in technology and diversifying its instruments like no other.
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Fazioli, without a doubt. I had occasion to select a concert grand for a performance several years ago. The dealership in NYC/Manhattan from whom the instrument was rented had a Fazioli F 278 and several Steinway D 274s from which to choose. There was absolutely no comparison. The Fazioli was sublime and the Steinways, in the same room (so comparison was direct),,were great, of course, but didn't measure up.
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It really depends on the brand/model. Bosendorfer 225 (230) are really awesome, Shigeru Kawai EX and SK7 are both top tier, and one special mention; Bechstein C234 2024 model has A LOT of new technology. I played the C234 and was blown away. 7 footer sounded richer than Estonia 9 footer right next to it. The sound gave me goosebumps and sent me shivering.
If I have to pick a favorite brand where all models perform well across the board, Kawai wins hands down.
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Kevin Kang I've read about the Bechstein and all the technology from a luxury piano site. Hard to find a place to go in and play one unless you are in New York City or Miami.
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I like Fazioli pianos
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Shigeru Kawai also brings up my attention . Yamaha grand piano stable quality
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Like so many of you I’ve played a lot of different pianos. I love a Steinway, I’ve always felt that Bösendorfer a bit on the heavy side. I played a Fazioli for a diploma and I really felt I was wrestling that piano, mainly because the sustain pedal was so stiff that pushing it down kept pushing me to the back of the piano stool so I kept having to wriggle forward to reach the keys whilst trying to get the pedal to go down. I’ve never had such a experience before or since - thankfully! When choosing a new piano a few years ago I was really impressed by the Shigeru Kawai but top of the lot for me has to be the warmth, responsiveness and many coloured tones of a Bechstein. Unbeatable- although a Steinway does come close.
I’d be very interested to play some other American makes you have mentioned but I haven’t come across one of them yet.
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I have owned two Shigeru Kawaii (SK2) and (SK5) and now I have a Bosendorfer VC185 - the SK5 was my favorite - not only loved the sound but also loved the carbon fiber action. The Boesendorfer feels nice but just so much heavier.
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For Chopin, Fazioli for all its beautiful and pure overtones. It has humongous range of dynamic - Whether it is a roaring lion, or whisper of a baby.
For Bach, Mozart, a Hamburg Steinway C for its pure tone for its simplicity. Since its overtone isn’t as rich as fazioli, it is ability to mimic different voices, and get it feels more dimensional.
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Lc Great to hear mention of the C, exclusive to the Hamburg factory. It’s unique in that it uses the full-sized concert grand action of the D in a smaller, 7-and-a-half-foot case. This model deserves more attention IMO but probably gets overlooked because it’s encountered so infrequently. Worth playing if you get an opportunity.
For Chopin, though, Fazioli’s aesthetic could hardly be more different. Chopin’s preferred instrument was Pleyel, and the Pleyels of his time had a warm, sweet tone with a delicate treble. Not that we can’t make use of opportunities for tone color that today’s instruments provide, but we should surely take the sound of composers’ instruments and their aesthetic into account. Today’s pianos are already so much more brilliant, especially in the treble, and all too often we hear Chopin interpreters overemphasize the treble on an already ear piercing piano, rather than playing with restraint.
I once had the opportunity to play Chopin on the exact model Pleyel (upright!) he had in Mallorca while composing the Preludes, from the same year. It was a revelation. Such a beautiful, warm yet also bright, singing, sweet tone, with a feathery treble. Nothing against Fazioli for music where it’s suitable, but it’s really the antithesis of Chopin’s sound world.
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Albert That's a very good point Chopin and Pleyel. I haven't considered whole category of piano as a possibility. I haven't had the luck to play on one. In that same train of thought, I'd imagine tuning is perhaps important factor too.
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I was introduced to a Mason & Hamlin BB by my first good teacher. It wasn't until some years later that I was able to purchase a BB. It was a lucky find for me as it was during the 4 year period after getting back to the original factory. The bass and tenor registers are sublime. I can't imagine a better instrument.
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Kenneth Hoyle I have a Mason & Hamlin BB from 1998 or so. Fantastic instrument. Sarah Faust from NYC's Faust Harrison Pianos (who retailed new Masons at the time) knew I was looking; she called me one day and, in her authoritative/not-to-be-trifled-with way, simply said, "I have your piano." She was right. Because of the crown/action retention systems it weighs in at about 1,200 pounds. Piano movers curse the sight of it because they know!
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I don't know about on the concert stage but in my home I am very happy with my restored 1915 Masons & Hamlin AA (6'4") . Made in Boston. Still are. Weighs in at 900 lbs vs 695 for similar size (6'2") Steinway. 100 sq inches more soundboard., 3.25" rim vs 2.5'. Tension resonator. Adds up to rich bass and bell like treble for its size.
Had a large upright Yamaha that was excellent.
Played an incredible new Bosendorder concert grand at a museum in New Mexico.
And really love the delicate tone of a Pleyel 4' grand in Paris.
Played a Steinway B at a church in North Carolina. Piano was nice but the room acoustics were incredible. I think that factor is maybe as important as the piano itself.
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Not to be a piano snob, but I am old enough to have had some amateur experience. My first substantial piano was a concert grand Baldwin. In 1973 it fit nicely almost wall to wall in my apartment. Then I heard about a rebuilt Steinway D at the store in New York and flew out to interview. Loved it and shipped it home, to a larger house with music room. Great treble sound! Next, sadly in 1991, a close friend died who owned a 1962 Bosendorfer (yes the 97-key one, but only 2 pedals), which Leonard Bernstein played that year at the Vienna Koncerthaus. (Mozart Concerto).
Well crazier things occurred when Oscar Peterson came to town in 1992 and had shipped in a new Bosendorfer for a local concert. After the concert it went on sale at the local piano store and guess who bought it.
Have loved it ever since that time and still trying to do it justice. I guess if you are a piano junky there is no hope.
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