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The truth of the matter here is that pianists often don't want to adapt their playing to the instrument that they're playing on, and therefore miss out on a whole host of colour and dynamic range that could be available to them. Finding out what is possible on one instrument allows you to transfer the intent at least, in some ways, to another.

Frankini, Professional pianists are usually scared to venture outside the brands that they know.

The truth of the matter here is that pianists often don't want to adapt their playing to the instrument that they're playing on...

Here, in a simple (excellent) paragraph, is the reason we should strive for diversity in music school pianos.

The truth of the matter here is that pianists often don't want to adapt their playing to the instrument that they're playing on, and therefore miss out on a whole host of colour and dynamic range that could be available to them. Finding out what is possible on one instrument allows you to transfer the intent at least, in some ways, to another.

Most music schools today (at least in Canada) don't have the resources to diversify
like you are suggesting. Music programs are a huge financial load on any institution because of the needed teacher to student ratio. A computer science program could easily have 5 faculty to 500 students. A music program needs 50 faculty to accomodate 500.
Many music programs today are being threatened because they aren't able to produce the same profit margins for there institutions as other programs.
We can all pontificate about the necessity of diversity in music schools but the reality is that many music programs today are far more concerned with their own continued survival than they are with contrasting their Steinway D with a Sauter Omega or Bluthner.

I tend to lean toward the side that Steinway today maintains its reputation more on marketing efforts then a current, modern attempt at continued development of its brand legacy.
Their last ditch attempt is to insist everything is fine, and they still see themselves in the mirror as the mighty giant they were 3 generations ago.

Where would Steinway be if Samick did not come to the rescue just a few years ago? Much of what made Steinway great a long time ago, as a leader in the industry, is non-existent today and it is ironic that Samick who only 10-15 years ago was seen as entry-level at best, is the company that saved the mighty Steinway.

We all are fully aware of the potential a Steinway can have once it is sold to a concert hall in North America and then proceeds to receive a phenomenal amount of technical work followed by years of regular, sometimes daily, servicing.

Hmph.....

Whatever...a great D is a great instrument, period.

A key factor is I bought a top to bottom re-build from someone who really knew what they were doing.

Sauters and Grotrians are great pianos, but not quiet up to the level of Steinway/Bösen/Fazioli (though possibly better than NY Steinway).

The other brands (ex. Boesen and Fazioli), fall somewhere in the middle, like Sauter or Grotrian, not as expensive as Steinway but not necessarily a lot better than a well-groomed Yamaha.

In Europe, Fazioli's are becoming more and more frequent.

Boesendorfer's used to be quiet frequent too, in the from the late 1970's to the early 90's, but their quality really took a dip in the last decade or so, maybe they will see a ressurgence since their owned by Yamaha.

Blüthner's are great pianos, but they have a very peculiar sound which isn't everybody's liking, and they most certainly don't suit every repertoire, so it's quiet normal you don't see them in concert halls.

Bechstein also has ressurged as a brand more recently (in the last ten years), we do see them more and more, but again, for someomone who is used to the Steinway they can be a difficult adapation, more so than the Fazioli, for exemple.

Sauters and Grotrians are great pianos, but not quiet up to the level of Steinway/Bösen/Fazioli (though possibly better than NY Steinway).

Steingraebers are still very confidential, but I know some major festivals, like "La Roque d'Antheron" have them in their park.

So basically it boils down to Yamaha in small/cheap settings, and Steinway — and sometimes Boesen or Fazioli } in bigger, more prestigious settings. Thus you will mostly see either the smaller Yamahas (up to S6 or C7) or the full concert Model D Steinway or Bosen Imperial. No middle ground here (if they can't afford the D, they'll skip most likely the B and go for the much cheaper Yamaha).

It seems to me to be about predictability and price/performance. Yamahas and Steinway are predictable, no surprises, everybody knows how they sound and how to play them. You want a cheap piano, you take a Yamaha (ex CF), you can afford an expensive one, you get the Steinway. The other brands (ex. Boesen and Fazioli), fall somewhere in the middle, like Sauter or Grotrian, not as expensive as Steinway but not necessarily a lot better than a well-groomed Yamaha.

[/quote] Admittedly this may fade or perhaps not be as relevant to the Hamburg Steinway, a truly fantastic piano, but definitely not in relation to the New York version.

Ever asked yourself why a good number of concert venues and private pianists insist on a "Hamburg" model, even on this continent?


Norbert

Certainly, as P.L. Aimard chose finally a Hamburg in his NY concert in "Note by Note" film (that tells us how to make a NY Steinway to perfection...).

Admittedly this may fade or perhaps not be as relevant to the Hamburg Steinway, a truly fantastic piano, but definitely not in relation to the New York version.

Ever asked yourself why a good number of concert venues and private pianists insist on a "Hamburg" model, even on this continent?


Norbert

Certainly, as P.L. Aimard chose finally a Hamburg in his NY concert in "Note by Note" film (that tells us how to make a NY Steinway to perfection...).

How come Bob Snyder doesn't come on this forum and bad mouth his competition?

2. Steinway dealers do enough bashing already.