Due to recent changes in Steinway’s distribution model, it has become quite difficult for today’s consumer to compare new Steinway pianos and new Bösendorfer pianos in the same room. That – combined with the fact that Americans are more generally familiar with the Steinway brand because Steinway & Sons is an American company – puts those who are unfamiliar with other premium piano brands (like Bosendorfer) at a big disadvantage. Unfortunately, too many buyers purchase a Steinway before they’ve ever had a chance to experience a Bosendorfer piano in person. …and – in a nutshell – that is why discerning piano owners so often trade their Steinway pianos up to Bosendorfer pianos.
As a piano expert with decades of experience selling premium pianos (including both Steinway and Bosendorfer) – and as a piano industry veteran who has personally toured both piano factories – I’ve compiled a detailed comparison to make piano shoppers aware of the key structural differences, differing design philosophies, and subtle performance variances that separate the two brands and make Bösendorfer the most sought after premium piano brand in the world.
Steinway & Bösendorfer: A Brief History
Franz Liszt was the first “Bosendorfer Artist.” This was his Bosendorfer grand piano.
Born in 1828 in what many consider to be the world’s Music Capital – Vienna, Austria, Bösendorfer is the oldest continuously-operating piano manufacturer in the world. Surrounded by more iconic composers than any other city in the world, including – Haydn, Mozart, Beethoven, Schubert, Liszt, Strauss, Brahms, and many more who lived and/or worked in Vienna, the Viennese people have a fierce devotion to music and – especially – to the piano. They even have their own tonal philosophy – often called “The Viennese Sound” (a warmer, more colorful tone than typical European, Asian or even American pianos). This tone permeates every pore of a Bosendorfer piano and infuses it with a unique character that simply cannot be found anywhere else. This character is what captured Franz Liszt’s heart and drove him to become the very first “Bosendorfer Artist.” Liszt’s Bosendorfer piano continued to travel the world (from museum to museum) for over a century after the composer’s death, but it now resides in Liszt’s former drawing room at the Liszt Ferenc Memorial Museum in Budapest. Today, Bosendorfer’s prestigious list of proud owners include A-List performers, celebrities, business tycoons, emperors, and global royalty.
Steinway & Sons started in 1853 in New York City when Heinrich Steinweg and his two sons (William and C.F. Theodore) migrated from Germany and changed their names from Steinweg to Steinway. The company quickly built a reputation for quality craftsmanship and innovation. They won numerous awards, and then embarked on a marketing campaign whose sole purpose was to get their pianos out onto concert stages. They believed that if the public saw Steinway pianos played by top pianists of the day, then more people would want Steinways for their homes – a philosophy that Steinway clings to even today. Though they no longer hire pianists like Anton Rubenstein to play Steinway Pianos in concert halls all over the US, Steinway still pushes to be on stage in as many concert halls as possible. They often use their roster of Steinway Artists, which now encompasses pianists and musical ensembles from a wide variety of genres and skill levels, as an important marketing tool. Some would argue that Steinway pianos also have a unique tonal character that makes them popular, but it is worth noting that – while that is certainly true in America – Steinways made for the rest of the world can be quite different. There is a lively debate among discerning pianists as to which Steinway is preferred – the New York models or the Hamburg models. Currently, Hamburg Steinway pianos are considered to be more desirable as they seem to have greater tonal color and control.
“Mostly Handcrafted” vs. Handcrafted
Once entirely handcrafted, Steinway pianos are now built with a combination of hand craftsmanship and machine automation. This machine lifts the piano up and rotates it so workers can inspect the instrument’s belly.
For the US market, Steinway is capable of producing as many as 1500 pianos per year. Once entirely handcrafted, Steinway’s current manufacturing processes utilize computerized “CNC machines” and CAD technology on a large scale. This allows Steinway to build their pianos in 9-12 months (after the wood has cured for about a year on the factory lot and undergone a kiln drying process prior to entering the factory) and still produce a very nice – if not entirely “handcrafted” – instrument. Steinway also has a factory in Hamburg, Germany, that can produce pianos for Europe and Asia. Globally, Steinway is capable of producing up to 2500 pianos a year.
Bösendorfers are far more rare. For the global market, Bösendorfer has an annual output of about 300 pianos per year – only 60-70 of which ever make it to the US. From the initial curing of the woods to the finished piano, Bösendorfer Pianos take a total of about six years to build. This is because Bösendorfer chooses to cure their woods naturally for over three years before entirely handcrafting their pianos in the traditional “cottage industry” way. Bösendorfer craftsmen and women believe that the highest level of quality control, longevity and performance can only be achieved when the piano is entirely handcrafted by master artisans who put their hearts – and the Vienesse “soul” into every Bösendorfer piano.
Related article: Ex-Steinway CEO explains why Steinway pianos aren’t entirely handcrafted anymore.
Design Philosophy
Carefully fit together and glued into a single, solid resonating component, a Bosendorfer piano’s frame is considered vital to the overall color and projection of the piano’s tone. 80% of the piano is Austrian Spruce – which is why Bosendorfer pianos cost more than Steinway pianos that use laminate rims and lesser woods in their frames.
The design philosophy of the Bösendorfer grand piano is very similar to that of a violin, where the whole body – not just the soundboard – is considered fundamental to the formation and projection of the instrument’s tone. The piano’s rim is made of solid, quarter-sawn, Austrian Spruce (the world’s finest and most expensive wood for acoustic resonance) and is specially grooved – then bent- into shape around the inner rim. More than 80% of a Bösendorfer is made from this premium spruce. Where other pianos use laminates or lesser woods, Bosendorfer cuts no corners. Only the finest species and specimens of wood make it into a Bosendorfer piano. When the piano is played, its tone reverberates throughout the entire piano – not just the soundboard. This, not only contributes to the elongation of the sound, but to the sound’s clarity, beauty and tonal color. Just hold the piano’s rim while someone plays it. You’ll feel this vibration immediately.
Steinway & Sons has a different design approach. Focusing less on tonal color and more on projection, Steinway utilizes a variety of high quality – but less expensive – woods throughout the piano, including Sitka Spruce for their soundboards and keys, maple pin blocks and poplar structural components. The Steinway rim is very different – utilizing a “book” of hard maple laminates that provide excellent volume and durability for the concert hall (but less tonal color).
If your goal is a loud, percussive sound that can cut through an orchestra or fill an auditorium, Steinway may be an excellent choice. If, however, you prefer a more nuanced, subtle tone with warmth and color, then you won’t find anything better than a Bosendorfer. This is not to say that Bösendorfer concert grands can’t project over orchestras or fill concert halls – just that their primary focus is to deliver an unparalleled variety of tonal color – something Steinway pianos often sacrifice in favor of volume.
A perfect partnership between two legendary companies – both obsessed with Ultimate Design, this is the Porsche piano by Bosendorfer.
For those who want a truly unique instrument, Bosendorfer regularly partners with other luxury brand designers. Brands like Porsche, Audi, Swarovski, and more offer stunningly unique cabinets, but altogether traditional Bosendorfer performance. Bosendorfer also regularly designs collector’s item pianos to honor famous artists of the past, including Beethoven, Oscar Peterson, Gustov Klimt, Franz Liszt and more. You can even create a custom design with Bosendorfer and have your own family crest inlaid in the piano’s finish. With a piano like this – anything is possible in time.
Company Stability
It’s no secret that the last 20 years have been difficult for businesses of all kinds – none more so than the acoustic piano industry. Nearly every piano manufacturer has had to reorganize or change ownership to compete and Bosendorfer is no exception. Thankfully, Bosendorfer became part of the Yamaha family in 2008 and Yamaha has chosen to leave them alone – providing logistical support, distribution and marketing as needed without compromising the piano’s construction. As part of the world’s largest and most innovative music company, Bosendorfer has flourished… and will continue to do so for the foreseeable future.
Steinway, unfortunately, has been less fortunate. Bought and sold many times since the family sold it to CBS in 1963, Steinway & Sons is now privately owned by a hedge fund speculator named John Paulson. Since Paulson acquired it in 2013, they have reduced and sold off part of the Astoria factory to Netflix and Robert De Niro, sold Steinway Hall in Manhattan for condominiums, replaced or fired nearly all of their senior executives, laid off hundreds of factory workers, discontinued their New York restoration department, and increased the number of corporate retail stores, replacing long-time piano dealers. Factual financial information is hard to get from Steinway these days, but rumors of another sale abound. What is certain is that Steinway’s future is uncertain.
Piano Construction
Bosendorfer dries its wood naturally – a costly process that requires greater wood inventory and a three-year maturing period.
Bosendorfer is the only piano manufacturer that does not use kilns to dry any of the wood used in the production of their pianos. All Bosendorfer woods are naturally dried – a slower and far more expensive process than kiln drying as it requires far greater wood inventory.
The goal of incredible sound and resonance guides Bösendorfer in all aspects of construction. It starts with the sub-frame (ie “bracing”) which is made from solid, naturally dried Austrian Spruce. With the soundboard and inner rim, the craftspeople create the main body of sound – also called the Resonance Case. Once this case is completed, Bosendorfer craftsmen can dial in the power and body of the piano’s tone (making adjustments as necessary) before the piano’s belly is fully assembled. This costly and time-consuming quality control process ensures that every Bosendorfer sounds incredible. You don’t have to browse through a dozen or more to find one you like. Next, the Bösendorfer piano’s outer rim is thinly notched so craftspeople can bend a solid piece of spruce around the Resonance Case. Once the rim is bent and secured in place, artisans hammer tiny shims back into the notches so the entire frame can resonate naturally. This is the secret to Bosendorfer’s unique sound – everything inside the piano contributes to the instrument’s tonal color and projection.
Unlike Steinway – who uses a laminate rim – Bosendorfer cuts grooves into solid Austrian Spruce, wraps the rim around the Resonance Case and then hammers shims into the grooves so the final rim is one solid piece of tone wood.
This practice contrasts with Steinway and other piano manufacturers who use thin strips of laminated hardwoods to form their outer rims. Made from multiple laminations of hard rock maple wood and urea resin (the same glue used in particleboard or MDF panels), these laminated rims are strong and extremely affordable (costing far less than spruce), but they are not particularly resonant woods. The glue, especially, reduces tone color and limits the piano’s ability to “emote” at softer volumes. Steinway emphasizes their “single rim” process – which includes building both the inner and outer rim as one (laminated) piece, but doing so limits their ability to adjust the piano’s tone prior to completion. This is why most manufacturers of high-end pianos do not use this technique. Finally, Steinway selects less expensive woods for their lids, music rests, legs, and bracing as they consider those parts to be less important to tonal generation. This is another reason why there can be a significant difference in tone and projection between individual Steinway pianos – even when comparing multiple pianos of the same model!
Both Steinway and Bösendorfer build their key actions to give players optimal control. Each company has their own patented designs and each is made with decades of artist feedback. One big difference here, however, is in the woods used to make these action parts. While Bosendorfer builds their action parts mostly out of hornbeam (a lightweight wood that is stronger and more durable than maple), Steinway purchases maple key actions from Renner – a Steinway-owned company that makes action parts in both Germany and China. One final action-related difference between the two pianos is the material used to make their key tops. Steinway uses an acrylic material called “Ivoplast” for their key tops. The material is made in a flat sheet that is later stamped, cut and fitted to the keys. Bosendorfer uses a specially-molded hard mineral plastic called “Tharan” for their key tops. This material is stronger and far more resistant to scratching than Steinway’s Ivoplast.
Bosendorfer utilizes a single stringing technique that – though more costly and time consuming – preserves the purity of each note’s tone. Steinway, bends their strings around hitch pins, which creates dissonance (or “false beats”) in the piano sound.
Another upgrade from Steinway pianos, Bösendorfer utilizes a stringing system called “Single Stringing.” Each string is individually attached to each hitch pin with a handmade loop, which gives Bosendorfer pianos a purity of tone that no other piano can match. This process is also more expensive and time consuming so most other manufacturers, including Steinway, turn their strings around their hitch pins – using a single string for every two tuning pins. The problem with this technique is that it introduces false beats into the piano’s tone and decreases tuning stability.
The bar that provides tension and projection in the treble section of a piano is called the “Capo D’Astro” bar. Steinway casts this bar into the plate. Bosendorfer makes theirs separately and attaches it via a series of bolts so it can be custom fit to each piano and adjusted as the piano changes over time.
The sand cast plate is hand-crafted using traditional and sand casting techniques. They are made in Austria, and are cured outdoors for six months before assembly. This is to assure that they won’t have any internal stress due to the cooling down process. This period of time is longer than most piano manufacturers take to build their entire pianos. Steinway, by contrast, gets their plates from O.S. Kelley – an Ohio-based plate supplier that Steinway purchased in 2008. O.S. Kelley mass-produces their plates using computerized CNC machines to do all of the drilling and de-burring. The major difference here is that Steinway casts their Capo D’Astro bar into their plate – making it one solid piece that cannot be adjusted or customized to an individual piano and Bosendorfer bolts its Capo D’Astro bar onto their finished plate using several bolts that can be adjusted to apply the perfect string tension in the perfect place across the piano’s scale – further perfecting the clarity and projection of each note. Building it this way also allows a technician to move and adjust it as needed over the piano’s lifespan, guaranteeing the signature Bösendorfer sound for generations.
Bösendorfer’s top priority is achieving the most effective sound transmission throughout their entire piano. That is why Bösendorfer has designed a bass bridge with holes in it. This “low mass” design is based on a violin’s bridge – which is made from far less mass so sound can travel through it with less impedance. Because Bosendorfer’s bridges are made from capped solid wood (as opposed to laminated bridges on Steinway pianos), they can be easily drilled to have a “low-mass” profile – like a fine stringed instrument. This bridge design from Bösendorfer greatly contributes to the richness and sonority of Bösendorfer Pianos.
Bosendorfer’s “Open Pinblock” method allows for greater tonal clarity and tuning stability because the pins sit deeper into the wood. Steinway’s tuning pins have to pass through the cast iron plate – making them taller and more susceptible to stress.
The final (major) technical difference between the two brands has to do with their tuning pinblock. Steinway uses a multi-directional pinblock made of laminated maple wood with tuning pins that are driven through holes in the cast iron plate. Bösendorfer’s design is called an “open pinblock” because there is no metal above the wooden pinblock. Bösendorfer builds its tuning pin blocks out of quarter sawn maple with multiple layers glued cross-grained to each other on a foundation of red beech. Then, the plate is fitted around the wood and the tuning pins are driven directly into the wood. This allows the pins to sit lower in the pin block and provide even greater tuning stability and clarity of tone.
Even the shipping containers are different – Bösendorfer uses rugged plywood crates. Steinways ship in reinforced cardboard boxes.
Factory-Installed Player System
Thanks to their relationship with Yamaha, Bösendorfer pianos come custom-fit with Yamaha’s iconic Disklavier ENSPIRE PRO system – the highest resolution player system in the world. With this system, owners can enjoy lifelike piano sound from the world’s greatest artists. This system offers playback, record, educational features, and silent play. It also gives customers access to over 40 channels on Disklavier Radio and hundreds of videos on Disklavier TV. It’s truly an entertainment system that grows with your family’s needs. The playback system offers music that features the piano only, music that features the piano with full orchestration accompaniments, and even piano with accompaniments and vocals!. You can actually watch icons like Elton John, Sara McLauchlan or Alicia Keys perform on your flat screen, play your piano, and sign along with the music. It’s truly spectacular!
The Bosendorfer Disklavier is the very pinnacle of player piano technology, including silent practice features, digital instruments, a vast library with background instruments and vocals and support from the world’s leader in music technology: Yamaha.
The Steinway Spirio system offers a mostly classical repertoire performed primarily by Steinway Artists. Since they began recording for this system over 30 years after Yamaha, they don’t have anywhere near the variety or musical licenses Bosendorfer does – nor do they have the self-calibrating technology Bosendorfer does or the education and silent practice technologies that Bosendorfer does. Until recently, Spirio didn’t even offer recording capabilities, but – for about $20,000 more than the base system – the Spirio-R system now offers recording. The Steinway Spirio system does not offer background orchestrations or vocals, so, it is strictly for those who want to listen to piano music only. This seems like a very limited system for the price.
Innovation in Piano Design
Bosendorfer pianos continue to develop and grow. In 2016, Bösendorfer introduced the Vienna Concert (VC) Series Grand Pianos after decades of research and development with the world’s top pianists and piano builders. The Vienna Concert design goal was to achieve the ultimate level of dynamic range and responsiveness, along side the distinctive Viennese Bösendorfer sound. Offering a completely re-designed resonance case (complete with new soundboard and rib designs, a new rim shape, duplex scaling and a variety of other adjustments), The VC Series has become a very strong contender both in homes and on concert stages. Now – unlike Steinway – Bosendorfer offers two distinct premium sounds: the Legacy Line (including the 200, 225 and the iconic Imperial – the latter two with extra notes in the bass) and the VC Line (170, 185, 214, 230 and 280). Discerning players can choose the Bosendorfer performance they want without compromising their standards.
Steinway, it would appear, has done very little innovating in the last 35-40 years. The last major design change occurred in 1982 when Steinway decided to remove the Teflon (plastic) components in their keyboard actions. Aside from that, they have released no new models, no new designs and no new technologies – including the Spirio system which they purchased from a third-party company. It would seem Steinway is coasting on its name recognition rather than working hard to innovate or update their instruments. You still won’t find a slow-close fallboard on a Steinway piano like you would on countless premium instruments (including Bosendorfers)!
See the largest selection of Bosendorfer Pianos in the Southwest! Visit our Bosendorfer Salon in Scottsdale, Arizona or call us at (480) 368-8888 for a personal tour.
Finally, it’s easy to understand why Bosendorfer offers the same 10-year warranty most premium piano brands do. What’s puzzling is why Steinway only offers a 5-year warranty. Shouldn’t a handcrafted piano made from the finest materials naturally come with (at the very least) the industry-standard 10-year warranty? Certainly the finest piano would come with the best warranty, right?
After considering all of these things, you can see why a similar-sized Bösendorfer Piano is more expensive than a Steinway piano. They are the “Rolls Royce” or “Stradivarius” of the piano industry – the very finest money can buy with an unquestionable reputation around the world. Playing a Bösendorfer piano is like having a great conversation with an old friend. It’s a symbiotic relationship that – when properly maintained – helps you express yourself in the most intimate ways. …and it gives you back much more than you give. It’s a rare luxury. 99% of the world’s population will likely never even see a Bosendorfer piano! That’s how special owning one – and playing one regularly – truly is.
No doubt – Steinway is a well-known name, and they do build fine pianos. However, if you want the very best, and a more exclusive (and rare!) piano with the sound that other manufacturers can only hope for, then save yourself the hassle of buying a Steinway piano only to trade up later. Get your Bösendorfer piano now.
Sonja,
Excellent post
Thank you –
Thank you for reading! Glad you found it helpful!
Interesting and very informative. I have a wonderful Baldwin grand made in the US. If I were in the market, I would choose a Boseddorfer or a Fatzioli.
Hi, Richard! Thank you for stopping by! We still have a bunch of American Baldwin pianos and they are great instruments! Glad you are enjoying yours! Though I’ve never really had a “OH WOW!” experience on the many Fazioli pianos I have played, I agree with your comment about Bosendorfer. Those pianos blow my mind!
I recently rented a Bosendorfer 214VC for a Christmas concert at my local church. This was the 214VC’s second appearance at the church. At both concerts, we had the piano duo of “Mada and Hugh” performing four-handed. We have a fairly large sanctuary (can accommodate approximately 250 people) and the 214VC filled the sanctuary with its resonance. We had about 100 people attending each concert and the reaction from the audience was overwhelmingly favorable! At the Christmas concert, there were several young piano students (from probably 10 to 16 years old). They gathered around the 214VC after the concert and they appeared “intimidated” by it. I told them to go ahead and play it. They did and they all said the piano seemed so easy to play (obviously the action). I described it to them as “friendly” and they agreed. They were no longer intimidated and I hope that the experience only made them more enthusiastic about learning to play.
Hi, Thomas! Thanks for stopping by and for sharing your story. This is exactly the kind of thing we’re seeing here. As more and more people experience these rare pianos, they fall in love with them! It’s what makes representing Bosendorfer so special and so rewarding! Thanks again and best wishes!
Hi James,
This is Jeannine Ary from Louisville. I just bought a Bösendorfer 225 and am static about it!
Hope you are well – I’d love to hear from you.
Jeannine! It’s great to hear from you! What a WONDERFUL piano! Congratulations! The 225 was the first Bosendorfer model I sold when I moved to Arizona. I love them! I hope all is well with you in Louisville! How are things?!
Bosendorfer is a Yamaha on steroids.
Hi, Tom! I know a bunch of people who would agree with you. Especially after playing Yamaha’s new CFX (from 2022), I can definitely agree that Yamaha’s premium piano line is an excellent “first step” towards Bosendorfer! Thanks for your thoughts!
As a total layman on the subject, and outsider, for on many details I did not even had an idea on what was being explained, I can anyway, understand the aspect of the cuasi religious, spiritual, aspect around the dedication to the art of producing the piano. The reference to this hedge Paulson around Steinway, is practically revolting around the vulgarity of the whole thing as exposed, even superficially. Paulson should be abducted and embedded into the shell of a Steinway and then dropped arround 42 St in Manhattan. What you have exposed reflects many things that are going wrong today all over the world and no one even dares, which is the correct term, to see them,even less expose them. The reference to Yamaha around Bösendorfer, mainly leaving them alone, something that reflects on you as a reporter, is very enlightening and gives hope. In the orient, Japan as part of the orient, the relgious traditions blurr the difference between the sacred and the profane, this dates back the middle ages, which were no middle ages in Japan at all, where for example, in the art of sword making, the spirit of the Samurai Warrior, the craftsman could be almost worshipped. I know of an anecdote, or legeng, of a Feudal Lord who sheltered a sword craftsman who was so demanding on himself that all he produced during his whole life was 6 swords, and the Feudal Lord still sheltered him. So it might be that this Bösendorfer might be turning out to be a kind of spiritual howitzer for the enhancement of the soul. Very inspiring your narrative.Thank You.
Hi, Wilfredo, an thank you for your thoughts! We’re glad you found the article helpful. Best wishes!
Apologise for my limited English proficiency. As a Chinese, the fact is all the major countries in Asia (e.g. China, Japan, Korea) are secular countries, the influence of religious factors on the business operations of large enterprises in these countries is not particularly pronounced. Both Yamaha and Pearl River’s entry-level pianos have adopted mechanised production to varying degrees. Under these circumstances, claiming that Asians possess a religious-like worship for handmade products is clearly detached from reality. But nearly every country in this region has experienced thousands of years of uninterrupted history, which means we’ve seen it all, we know what would happen if a company short-sightedly focuses only on immediate gains, such as stock prices in modern day, in the end, what this company loses will be greater than what it gains, and may even lead to bankruptcy and completely shut down. We know lots of things are million times more precious than stock prices, such as Bösendorfer’s human dedication, craftsmanship and long term reputation that leads Bösendorfer survives for almost 200 years, respect for human craftsmanship is part of fundamental humanity and mortality, and even commercial companies should not go against human nature. Sadly, I don’t think Steinway and Paulson have ever realised about these as they are still cheating on the manufacturing and promoting that Spirio non-sense.
Hello and thank you for your thoughts! Your English was fine! To be honest, I never considered the implications of religion on things like this. Fascinating! I agree that companies nowadays seem to be very shortsighted and they need to be for focused on the people who make and play their pianos. Thankfully, that is exactly how Bosendorfer thinks and you can really tell. Thanks again for visiting and best of luck to you!
As a total layman on the subject, and outsider, for on many details I did not even had an idea on what was being explained, I can anyway, understand the aspect of the cuasi religious, spiritual, aspect around the dedication to the art of producing the piano. The reference to this hedge Paulson around Steinway, is practically revolting around the vulgarity of the whole thing as exposed, even superficially. Paulson should be abducted and embedded into the shell of a Steinway and then dropped arround 42 St in Manhattan. What you have exposed reflects many things that are going wrong today all over the world and no one even dares, which is the correct term, to see them,even less expose them. The reference to Yamaha around Bösendorfer, mainly leaving them alone, something that reflects on you as a reporter, is very enlightening and gives hope. In the orient, Japan as part of the orient, the relgious traditions blurr the difference between the sacred and the profane, this dates back the middle ages, which were no middle ages in Japan at all, where for example, in the art of sword making, the spirit of the Samurai Warrior, the craftsman could be almost worshipped. I know of an anecdote, or legeng, of a Feudal Lord who sheltered a sword craftsman who was so demanding on himself that all he produced during his whole life was 6 swords, and the Feudal Lord still sheltered him. So it might be that this Bösendorfer might be turning out to be a kind of spiritual howitzer for the enhancement of the soul. Very inspiring and educational your narrative.Thank You.
Fantastic and very enlightening article, many thanks. I have a 1976 Bösendorfer 200 model purchased in 2016 which I adore; its perfect tone is exactly how you describe and so interesting and illuminating to learn about the technicalities of the production process.
It’s highly unlikely that it will ever be for sale, but it has one piece ivory key tops and living in the UK, owing to the ivory act, I gather it can never be sold. Am I correct in thinking this?
It also has two pedals and having compared it with slightly older instruments, some have three. Were these made for a different market?
Any information you may have on these two issues would be very much appreciated!
Hi, Andy, and thanks for stopping by. We appreciate your feedback! A Bosendorfer 200 grand piano is a beautiful instrument – no question! I have one in my store right now with the Disklavier feature and we love it! I am glad you found the article helpful. We all enjoyed learning the “secret sauce” that makes Bosendorfer pianos so special. As for the ivory keys, I am not sure what the laws are in the UK, but the US wouldn’t allow the piano to be imported due to the ivory keys. I would check to see if you could sell it locally or even if you could replace the key tops with a synthetic. That wouldn’t be too expensive and it might eliminate the problem. As for the two pedals, this is very common. Though modern pianos have a 3-pedal tradition, there is no “standard” for how many pedals a piano should have. I’ve seen pianos with seven or eight pedals. …and I have seen pianos with just two. The truth is – nobody really uses the sostenuto pedal (middle pedal) in modern playing and there’s very little classical music written for it… so it’s not 100% necessary. That’s why the “middle pedal” does so many different things on different pianos. Nowadays, though, I think people feel they have to have 3 pedals (even if they don’t know what two of them do) because that is the tradition. It doesn’t really mean anything. Hope all that helps! Thanks again for your comment!
Many thanks for your very prompt response James. I’m pretty sure the UK laws are the same as those in the US regarding sales of ivory, although there is an exemption for pianos made before 1Jan 1975. As you suggest, I will look into replacing the key tops. The information re pedals is also helpful – I know some Faziolis have four, but two is plenty for me!
I heard a lecture recital in a Suffolk church on a 19th century Broadwood which had a split pedal enabling different sections of the keys to be sustained. Apparently Mendelssohn wrote some music for that model.
Very interesting. Thanks for stopping by!
I own a Porsche and know how they make them: meticulously with technical expertise and singular craftsmanship. The Bösendorfer as you’ve described it is clearly above that standard of craftsmanship. Now if only I could afford a Porsche Bösendorder, I’ll be in heaven. But I guess I’ll first have to learn to play piano.
Hi and thanks for your comment! That’s really awesome… and you’re right! Bosendorfer builds the absolute best pianos in the world and they are perfect partners for Porsche! Hopefully, you can take some piano lessons and end up with a Bosendorfer Porsche piano! They can even match your car’s finish color! 🙂
I had previously commented on the 214VC I had rented for a church concert. In June of 2024, I came across a used 170 (non-VC) at Cunningham Piano Co. I immediately fell in love with it. It was manufactured in 1996, was originally sold to Cunningham who then sold it to a customer. So, I am the second owner. Cunningham replaced all the strings and the tuning pins, corrected some minor cracking in the sound board along with other minor refurbishing. Your article is “dead on”! These pianos seem to beg you to play them. I am not a professional pianist, but I have never played a better piano than a Bosendorfer. The piano seems to anticipate what you are going to do, and I can play that piano for hours on end without getting. As far as I have been able to determine, Bosendorfer is the only manufacturer that uses single strings, and it is the first thing that I point out to people when I’m showing it off.
I liken Steinway to Mercedes, very good with widespread name recognition. However, I liken Bosendorfer to Audi, interestingly with a similar feel in their respective realms, enormously fun.
I think the Steinway/Mercedes comparison is a good one. They are good pianos with great brand recognition. I would liken the Bosendorfer to Bentley or Royals Royce, however. It’s an ultra-high quality, European brand with immense brand reverence… but fewer people know about them because they are so rare. Thanks for your thoughts!