European makers that regularly sell in the U.S. include: Bechstein, Blüthner, 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.