The Best of Both Worlds: The Art of Selecting New York and Hamburg Steinway Pianos Based on Repertoire

Abstract

Keyboard instruments have evolved in different forms and shapes over the centuries. A modern piano is a good example, having undergone many trials and experiments. Pianos have become larger in size, more sophisticated mechanically, and increased in tone and dynamic ranges throughout history. The development of the piano has always been closely associated with changes in musical styles, and demands from the composers and performers. Pianists are often used to playing on whatever instrument they are given, and this praiseworthy adaptability is unmatched by any other instrumentalists. However, also true is their lack of understanding of their very own instruments on which they spend a lifetime. This unfortunate disconnect hinders the potential of reaching the highest form of artistry. Instead, intimate knowledge and an ability to correctly assess a piano will lead to a more wholesome performance, when a pianist is able to identify the instrument’s weaknesses to be aware, and strengths of which to take advantage. This project will address the technical and aesthetic differences between the New York and Hamburg Steinway pianos, and how one piano may be more suitable for certain styles of music than the other. It aims to provide deeper understanding of the instrument, explore the art of piano selection, and equip pianists with an ability to make an informed assessment of pianos, thereby enriching the art of the piano as a whole. Piano repertoire discussed include: Bach’s Prelude and Fugue in D Minor, BWV875 by J. S. Bach, Piano Sonata in D Major, K. 576 by W. A. Mozart, Étude-Tableau in E-flat Minor, Op. 39 No. 5 by S. Rachmaninoff, and Prelude and Fugue in G Major, Op. 87 No. 3 by D. Shostakovich.