The designs of the grand pianos are based upon more than 150 years’ experience. At the same time, they include the most recent updates and represent an even stronger commitment to an ideal transparent sound, fullness and richness of overtones, and the greatest possible degree of adaptability. There are five models available, from E-272 to A-170.
On all models, active string sections between the bridge and hitch pins purposefully enrich the overtones within the principle of an integrated sound. All frames are “open,” i.e., designed without forward cross-braces. This offers great advantages for una corda (soft pedal) playing, as well as for the extended techniques which Contemporary Music requires. Fast-responding key action without “aquaplaning” - with hygroscopic white keys in an ivory substitute and black keys in solid ebony - make for enjoyable playing. Mammoth ivory for the white keys is optional, as are special features like knuckle rollers, the new energy transmission system in the Phoenix model, and weather-resistant, carbon-fibre soundboards.
Many pianists have rated the E-272 as one of the most distinctive and outstanding concert grands on the market. When tested in Bastille Opera Paris its sound was qualified best for the interpretation of Bach, Mozart and Beethoven and its competences for Contemporary Music were proved.
Teatro Nacional Sucre Quito Ecuador, Hochschule für Musik Karlsruhe, Janácek-Academy Brno (CZ), Vienna Konzerthaus, Philharmonie Berlin...
D-232 is the little brother of the E-272 – a classic grand piano for professionals, universities and mid-sized halls. The new capo d’astro bar is conducive to an especially singing tone and enriching the softest pppp to the most energetic ffff; covering 46 notes, this capo d’astro bar is the only one of its kind worldwide.
„Utzon“ grand piano in Bagsværd Kirke Kopenhagen, Royal Academy Stockholm, Music Universities Munich, Vienna, Karlsruhe etc.
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.
* The bass has been enriched with greater volume. Comparison of the 205 and the C-212:
- vibrating soundboard +4.8% / string length up to +5.8%
- the action, keyboard, and string lengths for notes 36-88 are identical
The B-192 is the latest Steingraeber design and closely modeled on the Steingraeber grand C-212 and thus the 2nd descendent of the famous Liszt piano from 1873. Very long bass strings on a similar scale to those of a chamber music grand are conducive to its wide range of sound. This piano transfers private homes into a concert salon; the B-192 is also well suited to discerning professionals and for use in music conservatories. The official production started in 2013.
Music University Trossingen, Music University Lucerne
We don’t consider our Salon Grand Piano A-170 to be a “baby grand,” because it impresses one as much larger than its 170 cm (5’7”) would suggest. Its
projection and volume are truly surprising for an instrument of its size. In physical terms, this phenomenon is based upon its unusually wide tail, which results in very long bass
strings. The bass bridge also manages to do without bridgework, just like large grand pianos! The sophisticated, action mechanism, built to the highest specifications, makes it a
truly professional instrument.