Japan’s two major piano manufacturers, Yamaha and Kawai, began making pianos around 1900 and 1927, respectively, with export to the United States beginning in earnest in the early 1960s. The first few years of export were spent learning to season the wood to the demands of the North American climate, but since then the quality control has been impressive, to say the least, and the standard to which other piano manufacturers aspire. Both companies also have outstanding warranty service, so customers are never left hanging with unsatisfactory instruments. As in Korea, labor costs in Japan have risen to the point where both companies have been forced to move much of their manufacturing elsewhere, making only their more expensive models in Japan. With some exceptions, their grands and tallest uprights are made in Japan, small and mid-sized verticals in other Asian countries.
The tone of Japanese pianos tends to be a little on the bright and percussive side (Yamaha more than Kawai), though less so than in previous years, and pleasing in their own way. In addition to their regular lines, both companies make high-end lines with more “classical” qualities, as well as entry-level lines that reflect a compromise between price and quality. The pianos are very popular with institutions and are real workhorses. Although more expensive than most other Asian pianos, a Japanese-made Yamaha or Kawai piano is hard to beat for reliability. Kawai also manufactures the Boston brand, designed by Steinway and sold through Steinway dealers.
Only three companies manufacture pianos here in any numbers: Steinway & Sons, Mason & Hamlin, and Charles R. Walter. A couple of other makers are in very limited production: Astin-Weight in Salt Lake City, whose factory was shut down several years ago by storm damage, says it still makes a few pianos; and pianos are once again being assembled in Chicago under the Kimball name using parts sourced from around the world. A few boutique makers, such as Ravenscroft, build high-end pianos to order. Baldwin, for a century one of the largest American producers, finally ceased most production at its American factory in 2009, having moved nearly all piano production to its two plants in China.
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. Since then, 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.
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