Steinway & Sons has been making high-quality pianos in New York City since its founding in 1853 by German immigrants. For most of the past century, the company has had little competition in the U.S.: when one desired to buy a piano of the highest quality, it was simply understood that one meant a Steinway. The last decade or two has seen a gradual erosion of that status by more than a dozen European firms and our own Mason & Hamlin. Although each by itself is too small to make a dent in Steinway's business, their combined effect has been to claim a substantial share of the market for high-end pianos in the home. (Steinway still dominates the concert-grand market and, to some extent, the institutional market.) This has been made easier by the fact that in certain respects these European-made pianos are visibly and audibly of higher quality than American-made Steinways (to be distinguished from Steinways made at the company's branch factory in Hamburg, Germany, which are of the highest quaity). Steinways have classic designs and use proven materials and methods of construction, but the musical and aesthetic finishing of the American-made pianos has too often been left uncompleted at the factory in the expectation, frequently unmet, that the dealers would finish it off. Fortunately, the past few years have seen a reversal of this trend in the form of many small improvements at the factory, as well as perhaps better performance by dealers. Though there is room for further improvement, the ratio of compliments to complaints, in my experience, has become more favorable. The recent replacement of American Steinway management by personnel from Steinway's European branches may also be having a salutary effect.

Mason & Hamlin, Steinway's principal competitor in the early part of the 20th century, went into a long period of decline after the Great Depression. After a series of bankruptcies and reorganizations in the 1980s and '90s, Mason & Hamlin was purchased in 1996 by the Burgett brothers, owners of PianoDisc, a leading manufacturer of player-piano systems. Over the past 14 years, from an old brick factory building in Haverhill, Massachusetts, the Burgetts have completely restored the company to its former excellence, and then some. They and their staff have designed or redesigned a complete line of grand pianos and modernized century-old equipment. Rather than compete with Steinway on Steinway's terms, Mason & Hamlin has repositioned itself as an innovator, seeking out or developing high-quality but lower-cost parts and materials from around the world, and combining them with traditional craftsmanship to produce a great piano at a somewhat lower price.

Charles R. Walter, a piano design engineer by profession, has been making high-quality vertical pianos in Elkhart, Indiana, since the 1970s, and grands for over ten years. The factory is staffed in large part by members of his extended family. The instruments are built using the best traditional materials and construction practices. Right now, times are tough for small companies such as this, which produce an excellent product but are neither the high-priced celebrated names nor the low-cost mass producers. If you're looking to "buy American," you can't get any more American than Charles R. Walter.


European makers that regularly sell in the U.S. include: Bechstein, Blüthner, Feurich, August Förster, Grotrian, Sauter, Schimmel, Seiler, Steingraeber, and Wilh. Steinberg (Germany); Bösendorfer (Austria); Fazioli and Schulze Pollmann (Italy); Estonia (Estonia); and Petrof (Czech Republic). Most are of extremely high quality; even the least of them is very good. Until two decades ago, most of these brands were virtually unknown or unavailable in the U.S., but as the European demand for pianos contracted, many of the companies found that Americans, with their large homes and incomes, would buy all the grand pianos they could produce. The liberation of Eastern Europe resulted in an increase in the quality of such venerable brands as Estonia and Petrof, which had suffered under Communist rule, and these brands, too, became available and accepted here.

The rush to sell to Americans has caused some European companies to reconsider the tonal designs of their instruments and to redesign them for better sound projection, tonal color, and sustain — that is, to sound more like American Steinways. Considering that some of these companies are five or six generations old and have redesigned their pianos about that many times in 150 years, this degree of activity is unusual. Some of the redesigns have been great musical successes; nevertheless, the loss of diversity in piano sound is to be mourned.

Several German companies have started or acquired second-tier lines to diversify their product lines, and have gradually shifted much of their production to former Soviet-bloc countries with lower labor costs, producing brands such as Bohemia and W. Hoffmann (by Bechstein) in the Czech Republic, and Vogel (by Schimmel) in Poland. Today, there is enough commonality in business practices, laws, and attitudes toward quality among the countries of Europe that the distinction between Eastern and Western Europe carries little meaning — except for labor costs, where the savings can be great.