Grand Pianos (
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A-170, Salon Grand: |
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We do not see the 5’ 7” as a “baby grand,” because it makes a much “bigger” impression than its 170 cm would suggest; the volume of sound is a real surprise among this class of pianos. Its roots can be traced back to the 1905 instrument upon which its predecessor, model 168, was based. The A-170 sounds much bigger than it is and has many awards to prove it, including “Best in its Class” and even “Best up to 200 cm Long.” In terms of construction, this phenomenal result lies in the very long bass strings that are only possible because of its unusual side shape. However, the decisive factor is the classic bridge: Thanks to the provision of a “proper” bridge (i.e., without a bass bridge with apron and base that makes the instrument sound nasal), it is the only salon grand piano in the world which directly transmits vibrational energy, just like large concert grands. The touch is also professional quality. Thus, the 168 and A-170 are in use on stages, in conservatories, and opera houses that have limited space. |
C-212, the 7' Chamber Music Grand: |
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The C-212 was introduced at the beginning of 2009. It is the direct descendant of the Steingraeber Liszt Grand Piano, the legendary model 205. The bass has been enhanced and adapted to twenty-first century requirements, while the previous design has undergone only moderate alterations. The allure of the Steingraeber 205, which has fascinated pianists like Franz Liszt, Richard Strauss, Engelbert Humperdinck and, more recently, Daniel Barenboim, has been preserved. Because of its differentiated sound spectrum and registers, this model is in use for lieder recitals, in recording studios and music conservatories (e.g., Munich, Paris, Hannover), and at New Music festivals. |
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D-232, Semi-Concert Grand: |
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The 7’7” is a classic, professional grand piano through and through, and was introduced as the little brother of the E-272 in 2008. The family resemblance is immediately apparent in the shape of the outer rim: sound reflection zones, the symmetrical shape, the precisely limited soundboard area which is conducive to an especially cantabile tone, and finely graded adaptability from the softest pianissimo to the most energetic fortissimo. The capo d’astro bar extends across forty-six notes to just above the middle of the keyboard and thus covers the largest pitch range of any piano. This concept stands for “greater brilliance and resonance” and is the only one of its kind in the worldwide piano market. Only forty-two notes pass through agraffes! The D-232 is a solo and chamber music concert grand for mid-sized halls: Currently, the most famous place to hear one is in the Bagsværd Kirke in Copenhagen, a monument to twentieth-century architecture. Jørn Utzon, the architect of the Sydney Opera, designed both the church and the case for this custom-made Steingraeber D-232. |
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E-272, Concert Grand: |
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The E-272 / 8’11”, based on the 265 concert grand from 1895, was redesigned between 1997 and 2002. Since then, many pianists have rated it one of the most distinctive and outstanding instruments on the market. Unique features include the unusual shape of the sound-reflecting rim, the star-shaped and half-timbered cross beams, and the “incredibly agreeable” (cit. Cyprien Katsaris) touch. The most unusual feature, however, is the shape of the soundboard in the treble. The resonating space has been reconstructed according to the classic ratio between string length and resonating space. Thus, Steingraeber strings have 27% less wood mass to penetrate than comparable instruments! Even with softer hammers, this results in a clear, singing tone. |
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Special Veneer: |
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Wood applications in black polished Steingraeber & Söhne grand pianos (from back to front: French walnut, Thuya, mahogany-pyramidal, East Indian Rosewood, Amboyna) | |
