Hello, after many years of "neglecting" my old love, the piano, I would like to resume and deepen some issues regarding both piano techniques and the characteristics of brands and grand piano models. Wanting to change my grand piano, looking a bit at what the market offers, I am excluding approaching a Steinway since even used ones have very high prices, at least for my pockets, and I am referring to the A188 and B211 models (for these used models dating back to the 70s/80s, prices go from 30,000 euros up). And to tell the truth, in terms of sound quality, not all Steinways are deserving, but perhaps this depends on their "setup". C. Bechstein seem more affordable to me (always from the same years, personally I am not interested in older ones) which I have always been fascinated by because of the type of their warm and "round" sound. The ones from the 70s/80s built in the old Berlin factory that no longer exists, feature a Renner action, which should already be a guarantee. My tuner tells me anyway that the Renner modified for Steinway is incomparable. That may be true, but I repeat, the price they have reached both used and new seems a bit too exaggerated to me. Returning to C. Bechstein, I came across a B212 and a C220 from the late 70s which is no longer in production since the C234 now exists. I wonder if it is worth considering (the C220), in the sense that if it needs any spare parts would I have problems? Furthermore, a very dear friend of mine, also a musician, told me not to overlook Bösendorfer in my search, perhaps the 200 model, which on the market, for the same years mentioned above, hovers around the same prices as C. Bechstein. But unfortunately, I have never been able to try a Bösendorfer and I wonder what difference it might have compared to a C. Bechstein. Seeking enlightenment!!! Thank you
Hello, after many years of having "neglected" my old love, the piano, I would like to pick it up again and delve into some issues regarding both piano techniques and the characteristics of grand piano brands and models. Wanting to change my grand, looking a bit at what the market offers, I am excluding approaching a Steinway since even used ones have very high prices, at least for my pockets, and I am referring to the A188 and B211 models (for these used models dating back to the 70s/80s, prices go from 30,000 euros up). And to tell the truth, in terms of sound quality, not all Steinways are deserving, but perhaps this depends on their "regulation". C.Bechstein seem more affordable to me (always from the same years, personally I am not interested in older ones) which I have always been fascinated by due to the type of their warm and "round" sound. The ones from the 70s/80s built in the old Berlin factory that no longer exists, feature a Renner action, which should already be a guarantee. My tuner tells me anyway that the Renner modified for Steinway is incomparable. That may be true, but I repeat, the price they have reached both in used and new seems a bit too exaggerated to me. Returning to C.Bechstein, I came across a B212 and a C220 from the late 70s which is no longer in production since the C234 now exists. I wonder if it is worth considering (the C220), in the sense that if it needs any spare parts would I have problems? Furthermore, a very dear friend of mine, also a musician, told me not to overlook Bösendorfer in my search, perhaps the 200 model, which on the market, for the same years mentioned above, hovers around the same prices as C.Bechstein. But unfortunately, I have never been able to try a Bösendorfer and I wonder what difference it might have compared to a C.Bechstein. Seeking enlightenment!!! Thank you
Marco
As far as spare parts are concerned, there shouldn't be any problems, although costs can vary quite a bit.
Regarding the choice, the only thing to do is to try them; it depends on the success of the individual instrument even with the same model, brand, and period... sensations are very difficult to describe in words. And then the preparation influences the performance very much.
Thanks for the first responses! But on a general level, what difference can there be, that is, what are the characteristics that differentiate a C. Bechstein from a Bösendorfer, since I have never played the latter and no one around here has one?
Thanks for the first responses! But on a general level, what difference can there be, that is, what are the characteristics that differentiate a C. Bechstein from a Bösendorfer, seeing as I have never played the latter and no one around my area has one?
I can venture a personal description, but I repeat, it can vary greatly depending on the different regulation, tuning, and success of the individual instrument.
For me, tendentially, the Bechstein from those years has a round and full sound, a keyboard that is certainly a bit more "callous" than the Steinways, but at the same time there is excellent control over the mezzotints (below mezzo-forte), while the zone between forte and fortissimo tends to exhaust itself more quickly with a more intense touch. The resonance tends to be very cantabile in the treble section and the sustain is clear, but the sonic character tends to oscillate more in the decay after the percussion, regardless of the tuning, and this different "fall" of the sound's prolongation gives a particular and characteristic flavor to the Bechstein sound.
The Bösendorfer, on the other hand, in terms of mechanics (from a dynamic point of view), tends to be more similar to the Steinway in my opinion; pianissimos are equally controlled both before and after mezzo-forte, up to the limit of the instrument, with the difference that (from a tactile point of view) you do not have the sensation of an "empty key" under the finger as happens on the Steinway; everything is a bit more consistent and continuous while pressing the key.
And the resonance, unlike Bechstein and Steinway, is in the Bösendorfer completely "straight," clean, and homogeneous across all sectors of the keyboard. Usually, the sound is clear on the "piano" and round and dark on the "forte," based on how one chooses to tune compared to current modes (and considering current factory choices). Let's say that regarding resonance, the Bösendorfer seemed more similar to Schimmel to me. In my opinion, the Bösendorfer is a beautiful instrument for those who prefer purity of sound and do not like brilliance.
Thank you MephistoWaltz, you have given me some very interesting insights. But what do you mean by a more "tough" keyboard in Bechstein compared to Steinway? From what I have understood, simplifying: Bechstein round and full sound, Steinway bright sound, Bösendorfer pure sound between the clarity of the piano and the round/darkness of the forte. But is it for this reason, reading in other forums, that some consider the Bösendorfer also a bit difficult to "tame"? Furthermore, is it true that C. Bechstein from the 70s/80s are better in terms of sound compared to current ones, in the sense of character and sound personalization which today is more "standardized"?
I apologize, I am new here and I hadn't realized that my post might have been better placed in the "marketplace" Forum: buying new/used piano. Can I repost it in that section?
