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.
The worldwide changes in the piano industry are making it more difficult to advise piano shoppers. For many years, the paradigm for piano quality has been an international peck-ing order: pianos from Russia, China, and Indonesia at the bottom; followed by Korea, Japan, and Eastern Europe; and, finally, Western Europe at the top, with pianos from the U.S. scattered here and there, depending on the brand. This pecking order has never been foolproof, but it has served a generation of piano buyers well enough as a rule of thumb.
Now this order is being disturbed by globalization. High-end and low-end makers are, to some extent, adopt-ing each other's methods and narrowing the differences between them. On the one hand, some Western European and American makers of high-end pianos are partially computerizing the manufacture of their "hand-built" pianos, quietly sourcing parts and subassemblies from China, and developing less expensive product lines in Eastern Europe and Asia. On the other hand, some Korean and Chinese makers are importing parts and technology from Germany, Japan, and the U.S., producing pianos that sometimes rival the per-formance of more expensive pianos from the West. Global alliances are bringing new products to market that are more hybridized than anything we've seen before. Although the old pecking order still has some validity, the number of exceptions is increasing, causing temporary confusion in the marketplace until a new order emerges.
At the same time that the range of quality differences is narrowing, the range of prices is widening, bringing into greater prominence issues of "value." Eastern European brands have emerged as "value" alternatives to Western European brands, the latter becoming frightfully expensive due to high labor costs and the rapid appreciation of the euro against the dollar. Some of the better pianos from China, Korea, and Indonesia have become value alternatives to Japanese pianos. Brands that don't scream "value" are being squeezed out of the market.
As mentioned above, one of the consequences of globalization is that parts and materials formerly available only to high-end makers are now for sale to any company, anywhere, that's willing to pay for them. Thus, you'll see a number of Asian firms marketing their pianos with a list of well-regarded brand-name components from Germany and North America, such as Renner, Röslau, Mapes, and Bolduc. The question then naturally arises: Given that high-end pianos are so expensive, and that today one can buy for so little a Chinese-made piano with German design, German parts, and perhaps even a German name, is it still worth buying a performance-grade piano made in the West? Are there any differences worth paying for?
SPRING 2010 -- page 45
TABLE OF CONTENTS
Hybrid & Player Pianos