With the seventh generation of Steingraeber family members now leading the way, discerning pianists can be reassured that respect for tradition and a passion for innovation will continue to define every instrument the company produces, says John Evans
Steingraeber of Bayreuth has a long and illustrious history of piano making spanning more than 200 years. In August 2023, owner and sixth-generation family member Udo Schmidt-Steingraeber handed over the reins of the company to the seventh generation of the family, his children Alban and Fanny. Both had been working in the family business since their school days, preparing themselves for this day. Meanwhile, helping to ensure a seamless transition, Udo remains as an adviser, with their mother Delia completing the family team.
Just as their parents did, Alban and Fanny value tradition and innovation in equal measure, concepts underpinned by a dedication to craftmanship and quality of sound plus a laser-focus on their customers’ needs. Little wonder, then, that Steingraeber pianos can be found in the world’s great concert halls, recording studios, universities and conservatories and are appreciated and honoured by pianists including Martha Argerich, Dmitry Shishkin and Daniil Trifonov.
If you are in London in January, there is an opportunity to hear a magnificent Steingraeber C-212 Chamber Concert Grand Piano in action at the Royal Academy of Music. The piano will play an important role in the Students Create Festival (13-15 January) when students of the Academy perform across the campus in lunchtime and piano will be equipped with Steingraeber’s Transducer, so that students will be able to play in new, experimental tunings.
Plenty of options
Steingraeber boasts a team of around 35 craftspeople, each rich in experience and with a passion for building the finest pianos. Together, they produce around 110 uprights and grand pianos every year. Representing the former are the 138 K, the company’s largest upright piano and a recipient of the Best Piano in the World award, the 130 T, for more than 90 years the firm’s most successful piano, and the 122 T, a classic instrument with an additional, sympathetically resonating soundboard giving it an extraordinarily full sound. In fact, all three upright models possess a quality of sound beyond their size. Meanwhile, depending on the model a choice of alternative actions is available, in addition to more than 100 types of case wood.
There is even an upright for institutional use. With its robust wood finish, large backfall and carrying capacity plus easy rolling wheels built into the case, this custom model is adapted to the needs of music universities and opera houses. As you will discover, this attention to detail and to its customers’ requirements is a hallmark of Steingraeber!
Turning to Steingraeber’s grand pianos, there are no less than five models to choose from. Opening the range is the A-170 Salon Grand Piano. It may be the maker’s smallest grand piano but it has received many ‘best in class’ awards that praise the sound as being much more generous than the instrument’s size would suggest. The B-192 Salon Grand Piano has a powerfully rich tone, mainly as a result of its very long bass strings. The C-212 Chamber Concert Grand Piano was introduced in 2009 and is descended from the 1873 Steingraeber Liszt Grand Piano, albeit adapted to the dynamic requirements of the 21st century. The D-232 Semi-Concert Grand Piano possesses an exceptional cantabile sound and wide-dynamic control. Finally, the Concert Grand Piano E is recognised as one of the world’s finest grand pianos and is almost unmatched in the music of Bach, Mozart and Beethoven.
Updates and innovations
Not a company for resting on its laurels, Steingraeber has always had a particular focus on innovation. For example, founder Johann Steingraeber’s nephew, Eduard, combined ‘Viennese’ and ‘English’ piano actions in the mid-1800s to produce his revolutionary Opus 1 masterpiece. Eduard’s sons, George and Burkhard, rejected the fashion for the ‘Romantic sound’ that other piano makers were following in the late 19th and early 20th centuries and decided, instead, to focus on creating a more modern form of classical sound.
More recently, Udo made the decision to revive Steingraeber designs from the time of Eduard and George, whilst at the same time he and his successors have been busy developing and launching innovations intended for the service of discerning pianists, whatever their needs and requirements.
1 Embracing all hand shapes and sizes
Respecting its customers’ needs and requirements, whoever they are and whatever their ability, is vital to Steingraeber. Accordingly, it offers three sizes of keyboard: a traditional one with octaves spanning 6.5 inches and two with narrower octaves: one spanning 6 inches and the other, 5.5 inches. Although challenging to design and incorporate, the company knows these narrower keyboards are appreciated by pianists with smaller hands. In the same spirit, it also offers a curved keyboard fitted with the smaller keys. Another innovation intended to benefit pianists is the pedal system for wheelchair users. This unique solution uses electromagnetic controls integrated into the pedal system that are activated by head, neck or mouth controls adapted to the pianist.
2 Sordino Pedal
This device revives a once-popular feature from the past when some leading piano makers incorporated an action, activated by the pianist, that inserted a thin strip felt between the hammers and the strings. It softened the sound and created the fp effect which Schubert, for example, was fond of. On a Steingraeber, the sordino function can be operated in different ways. The most popular application is to activate it using the middle pedal, rendering the sostenuto pedal temporarily inoperative. Other possibilities are a fourth pedal or a knee lever. Once experienced, you won’t want to hear Beethoven’s ‘Moonlight’ Sonata without it!
3 Made specifically for you
Whether it’s due to the choice of upright or grand pianos available, or the innovations discussed here, it is clear that Steingraeber puts its customers front and centre. Nowhere is this better demonstrated than in its approach to customisation. In short, whatever a customer desires, Steingraeber will do its utmost to provide. For example, customers are free to choose from a range of veneers and different touches, more than 100 wood types, three finishes (polished, satin or oiled) and different cabinet styles including the Utzon (designer of the Sydney Opera House), Liszt, Neo-Classical, Baroque and Chippendale. Want something extra special? Steingraeber’s ‘Twist & Change’ panels are truly eye-catching.
Showroom with the wow factor
All models of Steingraeber piano can be viewed at the company’s headquarters in Bayreuth. A former Rococo palace, Steingraeber Haus Bayreuth is stunning and features concert halls, playing rooms for customers to try their new piano or freshly built examples and even a piano museum filled with fascinating exhibits. Visitors are also welcome on factory tours where they can fully appreciate the care and attention that goes into producing a Steingraeber piano. Meanwhile, special guests can be accommodated in one of the company’s artist apartments. As they like to say at Steingraeber, nothing is too much!