Piano and Music Videos

Welcome to LivingPianos.com. I’m Robert Estrin. And today we’re talking about the Baldwin piano, not just any Baldwin, but the ones that piano technicians, concert pianists, and serious collectors hunt for. The ones built in Cincinnati during what is now called the Golden Era.

Baldwin in the Golden Era

For well over a century, Baldwin was considered the gold standard of American piano craftsmanship. Not a distant second to Steinway, but a genuine rival. These pianos were on the stages of Carnegie Hall and Lincoln Center. They were in the hands of the greatest musicians of the 20th century. At the center of it all was the Artist Series Baldwin piano, grand pianos that many piano experts, myself included, consider the best value-for-performance piano ever built in the United States. That’s a big claim. Stick with me, because I’m going to back it up.

The Bechstein Connection

Now here’s something most people do not know, and this is where the story gets really fascinating. In the 1970s, the Baldwin Piano Company owned C. Bechstein, one of the most revered piano makers in all of Europe, and the brand that Debussy championed. Think about what that means. You had American manufacturing muscle, American scale, American power behind the soundboard, fused with European refinement. Bechstein’s legendary tonal clarity, their scale design philosophy, and their approach to voicing and touch all influenced what was being built right there in Cincinnati, Ohio.

The pianos from this period—Baldwin grand pianos and concert grand pianos with Bechstein-influenced scale design—have a clarity in the treble and a singing quality in the midrange that you simply do not find in most American grand pianos of that era. That sustain and bloom reflect two great piano-making traditions meeting at exactly the right moment in history.

The Accu-Just Hitch Pin System

Now I want to talk about something specific; something that separates these Baldwins from earlier ones. Something called the Accu-Just hitch pin system. Baldwin patented this system, and it was one of the most innovative advances in piano sustain of the 20th century. Here’s the problem it solved: in a traditional piano, strings are looped around fixed hitch pins in the plate. Over time, the string does not always bear evenly across the bridge. You get what is called false bearing, which kills sustain and muddies the tone. You’ve heard pianos that sound kind of dead. That’s often a factor. The Accu-Just system allowed adjustable hitch pins. When a piano is strung, the downbearing can be fine-tuned for each string. The result is better contact across the bridge, better energy transfer, and greater sustain. Notes last longer and sing more clearly. This is why technicians seek these instruments out.

What Happened to Baldwin

So if the Baldwin piano was this good, if they owned Bechstein, and if they had innovations like this, what happened?

In the 1980s Baldwin moved its factory. That in itself was not a big deal, but it was part of a much larger corporate pivot. Baldwin had been aggressively expanding into financial services, banking, and insurance. The executives running the company were no longer piano people. They were finance people. And the pianos started reflecting that.

One hundred and twenty years of accumulated craftsman knowledge—the workers, the culture, the institutional memory of how to build a great piano—you cannot just pack that into a moving truck and transplant it to a new state. You can try, but it’s not the same. The Bechstein ownership ended too. So what you’re left with is a very clear dividing line: Baldwin as the number one American piano manufacturer and the choice of countless concert pianists, to a company that grew so large financially that the piano business became peripheral to them.

Why These Pianos Matter Today

Here’s the thing about these pianos that makes them increasingly important: they’re disappearing. Not because they’re falling apart, quite the opposite. A well-maintained pre-early 2000s Baldwin Artist Series is built to last. These instruments can outlast most of what’s being made today. But they’re being absorbed into private collections. They’re being bought by university music programs. They’re being restored by technicians who know exactly what they have. The supply is finite. These pianos are not being made anymore. And as awareness of the Golden Era grows, demand goes up.

I’ve had piano technicians come into this store and practically become emotional when they see one in great condition. Because they know. They’ve worked on hundreds of pianos, and they recognize immediately what this instrument represents. The value proposition here is extraordinary. You are getting a piano with the tonal character of an instrument that would cost two or three times as much if it wore a different nameplate. The Baldwin brand never commanded the premium of Steinway, even at its peak. Which means these Golden Era instruments are, in many ways, the most undervalued pianos in the American market right now.

How to Recognize a Great Baldwin

So how do you identify a great Baldwin? What should you look for? First, the serial number. Pre-early 2000s built Baldwins fall within a specific serial number range (380,000).

Second, look for the Accu-Just hitch pin system. A good piano technician can identify these immediately. This feature is a strong indicator you’re looking at a Golden Era instrument, although many Baldwin pianos made before this innovation are also phenomenal instruments.

Third, examine the overall build quality. The rim, the plate casting, the quality of the hammers and strings. These instruments were built with a level of attention that is visible when you look closely. Ask when it was last regulated and voiced. A great piano in neglect can be brought back, but you want to understand what you’re starting with. Check the soundboard for integrity since this is the soul of the piano.

And fourth, play it. Trust your ears. The Baldwin sound has a signature: clarity in the treble and a warm bloom in the bass. Once you hear it on a great instrument, you’ll recognize it again.

If you have questions about a piano, about Baldwin’s history, or about finding the right instrument for your situation, reach out to us. That’s what we’re here for at Living Pianos, Your Online Piano Store.

Welcome to LivingPianos.com. I’m Robert Estrin. The piano is one of the most enduring instruments ever created, and in many ways it has remained remarkably consistent for well over a century. But that may be starting to change. Today, I’d like to explore three innovations that could reshape what a piano can be: smaller keys, foldable designs, and aftertouch. And later, I’m going to show you one of my two prototype modular piano systems that delivers a virtual concert grand experience in a completely different way. These are not gimmicks, nor are they replacements for traditional pianos, but they raise fascinating questions about where piano design is headed, what problems are being solved, and what the piano of the future might look like.

Smaller Keys: Expanding Accessibility

Let’s start with smaller keys. The standard piano keyboard was established a very long time ago, and pianists have largely accepted it as fixed ever since. But of course, hands are not all the same size. As a student, I struggled to develop strength and to play large chords effectively because of my hand size. It wasn’t until years later, working with students who had larger hands, that I realized how significant this difference can be. Some pianists are able to master certain repertoire much more easily simply because of their physical advantage.

For many players, standard-sized keys can make intervals like octaves and tenths, as well as big chords and wide stretches, difficult or even impossible. This is where smaller or scaled keyboards become so compelling. This isn’t about making the piano easier. It’s about making it more accessible. If a different keyboard size allows a pianist to play with greater comfort, less strain, and more freedom, it opens the door to more repertoire and a more natural playing experience.

Foldable Pianos: Rethinking Portability

Next, let’s consider foldable pianos. One of the piano’s most obvious limitations is its size and weight. A concert grand is enormous, and even an upright is extremely difficult to move. The idea of a foldable piano is really about rethinking the physical form of the instrument. I’m not referring to inexpensive folding keyboards you might see online, which are not true substitutes for pianos. Rather, I’m talking about the possibility of a serious instrument with a satisfying action and full musical potential in a form that is dramatically easier to transport.

This could be a game changer for performers, teachers, and traveling musicians. When traveling by car, bringing along a digital piano is manageable. But flying with a high-quality keyboard instrument is another matter entirely. Personally, when I’m on vacation and have some free time, I want access to a piano! If there were a high-quality digital instrument that could fit in carry-on luggage, I would be first in line to get one. It’s a radical idea, but also a very practical one.

Aftertouch: A New Dimension of Expression

Now let’s turn to aftertouch, something many traditional pianists may never have encountered. This concept comes from the world of electronic instruments. On an acoustic piano, once the hammer strikes the string, your control over that note is essentially set. Aftertouch changes that by responding to pressure applied after the key is already depressed. This means a note can continue to be shaped even after it has begun to sound. Depending on the instrument, that additional pressure can influence vibrato, dynamics, tonal color, or other expressive elements.

I remember playing a Yamaha GS-1 in the early 1980s. It was an advanced 88-key synthesizer with touch sensitivity and polyphonic aftertouch. That meant you could apply pressure to individual keys after the notes were sounding and bring out different voices independently. The level of control was remarkable. Will every pianist want this? Probably not. But it does suggest a future in which keyboard expression extends beyond the initial attack in ways that acoustic pianos cannot offer.

What These Innovations Suggest

So what do these three ideas point to? To me, they highlight three important directions: greater accessibility, greater portability, and expanded expressive potential through hybrid and digital technologies. None of this suggests that the concert grand piano is going away. Far from it. The acoustic grand remains one of the most extraordinary instruments ever created. However, the definition of what a “piano” is may continue to expand. With advancements in player technology, performances can take place simultaneously on multiple instruments in different locations. You can even experience your favorite pianist playing on your own piano. The possibilities are extraordinary.

We will almost certainly see more hybrid instruments. Alternative key sizes may become more widely accepted. Perhaps one day, concert halls will offer multiple keyboard sizes to accommodate different pianists. We may also see entirely new physical designs and instruments that preserve the essence of piano playing while adding capabilities earlier generations never imagined.

A Glimpse Into Modular Piano Systems

This brings me back to the prototype modular piano systems I mentioned earlier, which are designs I personally developed. What excites me about these is their ambitious goal: to create a virtual concert grand experience in a completely new form. These systems are not intended to replace traditional concert grands. Instead, they offer a fascinating new direction, allowing pianists to enjoy a highly sophisticated playing experience with greater flexibility and adaptability. Imagine having the experience of a 9-foot concert grand anywhere, even in a small apartment, and even being able to play with headphones.

As you consider these developments, think about what they represent. Not just new products or novelties, but a broader vision of where piano design may be headed. The future of the piano may not be defined by a single innovation, but by several paths evolving at once. Some will remain niche, others may become mainstream, and a few may fundamentally change how people think about the instrument.

What do you think? Which of these innovations interests you most: smaller keys, foldable designs, aftertouch, or modular hybrid systems?

And if you want to learn more about pianos and hybrid instruments, visit us at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to explore a fascinating question about piano tone and design. Did we lose something when piano builders moved from straight-strung pianos to overstrung, or cross-strung, designs? You’re going to hear the difference for yourself by listening to the same Chopin excerpt played on two very different instruments: a meticulously restored 1870 Chickering concert grand and a 20th-century Baldwin with a modern scale design. By comparing these instruments directly, using the same music and the same recording setup, you can decide what you hear and what you prefer.

What Is Cross-Stringing?

First of all, what is cross-stringing anyway? Cross-stringing was an attempt by piano builders to fit longer strings into smaller instruments. The idea actually dates back to the 1820s, when a piano builder named Jean-Henri Pape experimented with crossing strings over one another inside a very small cabinet. By using two bridges, with strings running in different directions, he was able to achieve greater string length in a compact piano.

The Rise of Cross-Stringed Pianos

It wasn’t until the 1850s that cross-stringing really took hold. Steinway introduced a square grand piano with cross-stringing, and that innovation marked the beginning of the end for straight-strung pianos. By the end of the 1800s, nearly all pianos were being built with cross-stringing. This allowed not only for longer strings, but also for bridges to be placed more centrally on the soundboard, improving sound transmission.

The Hidden Trade-Off

In straight-strung pianos, many of the strings sit around the perimeter of the soundboard. Cross-stringing solves that issue, but it introduces a new challenge. There can be noticeable tonal differences where the strings transition from one bridge to another. This is one reason why some pianists, including Daniel Barenboim, have renewed interest in straight-strung instruments and are working with modern builders, such as Chris Maene in Belgium, to recreate historically accurate designs.

Hearing the Difference on a Modern Piano

To demonstrate this, let’s look at a Steinway Model S, which, like nearly all modern pianos, is cross-strung. On this piano, the strings switch from one bridge to another between B and B-flat. If you listen carefully, you can hear a change in tone between those two notes. The tonal continuity is interrupted right at the bridge transition.

How Manufacturers Try to Minimize the Problem

Piano makers have worked hard to reduce this inherent issue in cross-stringed designs. On the Steinway Model S, for example, the scale transitions from three plain steel strings to two copper-wound strings between E-flat and D. There is a subtle tonal change there as well, but it’s far less dramatic than the change that occurs when the strings move from one bridge to another.

Why This Matters for Romantic-Era Music

This is exactly why some pianists prefer historically accurate instruments for music written in the 1800s. The tonal continuity of straight-strung pianos can be especially well suited to composers like Chopin. To illustrate this, you’ll hear a short Chopin excerpt recorded at the same point in the music on both pianos, using the same microphones and identical recording conditions. Check out the video to hear the differences for yourself!

What Do You Hear?

I’m very interested in your opinion of what you’ve just heard. There’s no right or wrong answer here. What matters is what you prefer and what sonic differences stand out to you. Do you hear greater smoothness and continuity, or do you prefer the power and projection of the modern design?

The Pros and Cons of Cross-Stringing

To be clear, cross-stringing has real benefits. You get longer strings, more centrally located bridges, and greater efficiency in soundboard vibration. But you also lose some continuity and smoothness from the top of the keyboard to the bottom, and there is undeniably a change in tone.

I’d love to hear your thoughts, so please leave your comments here at LivingPianos.com. Let’s get the conversation going!

What is the Best Piano at the 2025 Chopin International Piano Competition?

A Bit of History

Let’s first take a look back at how the competition has evolved in terms of the pianos used. Before 1980, Steinway dominated the competition, along with some appearances from Bösendorfer. That was about the extent of the choices. Then in 1985, the landscape changed dramatically. Contestants were offered a selection of Steinway, Yamaha, Kawai, and Bösendorfer pianos. This marked a new era in the competition, giving pianists the freedom to choose the instrument that best suited their individual style.

By 2010, Fazioli made its debut as one of the official choices. And in the 2021 competition, there were even two different Steinways available, alongside Yamaha, Kawai, and Fazioli.

The 2025 Lineup

That brings us to this year’s competition. Although only about half of the contestants have chosen their pianos so far, we already have a good sense of how preferences are shaping up. This year, the available instruments include:

• Steinway
• Shigeru Kawai
• Fazioli
• Yamaha
• Bechstein

Contestants are given time to try each piano and select the one they feel most comfortable with. And that decision can have a huge impact on their performance.

How Did the Choices Break Down?

Here’s a look at how the selections stand so far:

• Steinway was the most popular choice, selected by about 25 pianists.
• Shigeru Kawai came in second, chosen by roughly 12 pianists.
• Fazioli was picked by 7 contestants.
• Yamaha was selected by 3 pianists.
• Bechstein was chosen by just 2 pianists.

It’s worth noting that Bechstein is still relatively new to the competition. In fact, they weren’t even present in the 2021 edition. So it’s not entirely surprising that only a couple of pianists chose Bechstein this year.

What Can You Learn From This?

If you’re passionate about the piano, I highly encourage you to watch the performances yourself. One of the best parts of this competition is that many of the pianists play the same repertoire. That gives you a rare opportunity to hear how different pianos respond to the same music, as well as how each pianist brings their own interpretation.

And beyond the technical aspects, it offers a glimpse into how piano manufacturing has diversified and how performers today have more choices than ever before to express their musical vision.

Welcome to LivingPianos.com. I’m Robert Estrin. Understanding how to approach the music of Mozart and Chopin is essential for any pianist aiming to play with stylistic integrity. These two great composers come from different musical eras, and while both wrote beautiful music, the way expression functions in their work is dramatically different.

Mozart: Clarity, Structure, and Classical Balance

Mozart’s music is the epitome of Classical form and architecture. It’s carefully constructed, with a clear purpose behind every note. The second movement of his well-known Turkish Sonata K331—a gentle minuet in 3/4 time—is a perfect example of this clarity. The sections are distinct and balanced, and the overall feel is elegant, with a transparent texture.

The Classical period focused on proportion and order. The pianos of Mozart’s time also had a lighter, more percussive tone, a narrower range (about five octaves), and very limited sustain. There were no pedals as we know them today. A lever operated with the knee could achieve some sustained effects, but the overall sound remained clear and crisp. This means that using a lot of pedal or excessive rubato in Mozart would be out of place, stylistically and sonically.

Chopin: Expression, Rubato, and Romantic Color

Chopin, writing during the Romantic era, had a vastly different instrument to work with. The piano in his time wasn’t the fully developed instrument we know and love today, but it was much closer. It had nearly the full 88-key range and more advanced mechanics, allowing for greater dynamic control and expression. Importantly, it had pedals, and Chopin made full use of them.

When playing Chopin, rubato becomes a major expressive tool. This give and take with the tempo doesn’t alter the overall timing, but it allows the performer to play around the beat, giving the music a natural, singing quality. This expressive freedom is essential to Chopin’s style, especially in his waltzes, mazurkas, nocturnes, and other dance-inspired works. Unlike Mozart, where the music’s structure is at the forefront, Chopin’s music prioritizes emotional expression. There’s room for a wide variety of interpretations, and no two performances of the same piece will sound alike.

Different Tools, Different Language

The evolution of the piano plays a big role in how we interpret these composers today. Mozart’s music, born in a time of limited pedal and dynamic options, thrives on clarity and rhythmic precision. Chopin’s music, on the other hand, blossoms with the expressive capabilities of the more modern instrument.

For example, in Chopin’s Waltz in A-flat major, we hear the flexibility of tempo and color. This contrasts sharply with the structure and lightness of Mozart’s minuet. It wouldn’t make sense to apply the same interpretive tools to both pieces. Even though they’re both in 3/4 time, the style and character are completely different.

What Happens When You Switch Styles?

As a kind of experiment, imagine playing Mozart in a Romantic style—full of pedal, rubato, and heavy expression. What happens? The music loses its clean architecture and turns overly sentimental. It feels out of character. Now, try the reverse: play Chopin as if it were Mozart. Keep everything strictly in time, use minimal pedal, and avoid expressive bending of the tempo. Suddenly, the piece feels cold and rigid. You lose the flowing, lyrical line that defines Chopin’s voice. These kinds of comparisons make the distinction crystal clear: the music simply works better when approached with the correct stylistic framework.

Know the Style, Know the Composer

To play Mozart with authenticity, think form, clarity, and precision. Keep pedal use minimal, and let the music speak with its natural elegance. To play Chopin well, embrace the expressive possibilities of the modern piano. Use rubato tastefully, pedal liberally (but sensitively), and aim for a singing tone that brings out the emotional depth of the music.

Understanding the period style not only honors the composer’s intentions, but also helps the music come alive in the most natural and effective way. If you ever doubt that, just try flipping the styles and listen for yourself.

You can listen to the accompanying video and hear what these composers sound when played in each other’s styles. I’m curious to hear your thoughts on the distinct styles of Mozart and Chopin. Which approach resonates with you more when you play or listen to their music? Feel free to share your impressions in the comments here at LivingPianos.com and on YouTube. It’s always fascinating to explore how these differences come across to different people.

I’m Robert Estrin, and today we have an intriguing question: Why can’t you buy a piano online? You might think it’s odd coming from me, given that Living Pianos was the world’s first online piano store, started in 2006. However, for the most part, you really can’t buy a piano online. Let me explain.

Practical Challenges

First, there are practical challenges. How do you ship a piano if you buy one online? If you live in Florida and buy a piano from California, how do you get it there? Who will tune it? These practicalities are significant, but there’s more to it.

Protected Territories in the Piano Industry

The piano industry still operates on an old business model of protected territories. This means you can’t shop for pianos the same way you shop for other items online. For most products, you can easily compare prices and buy from the cheapest source. But with pianos, the agreement between manufacturers, distributors, and dealers limits sales to specific geographical areas.

Unique Aspects of Pianos

Every piano is unique, which adds another layer of complexity. The agreements between manufacturers and dealers mean that dealers can only sell within their designated areas. If you visit a store, they can sell to you, but they can’t quote prices over the phone for out-of-area customers.

Exceptions and Loopholes

There are exceptions. Some large dealers skirt the rules and sell out of their designated areas. If caught, they may have to pay a commission to the local dealer. However, as long as the dealer is significant enough, manufacturers often look the other way.

The Living Pianos Model

Living Pianos has based its business model on selling used pianos. Nobody can restrict the sale of used pianos across the country. High-end brands like Steinway, Mason & Hamlin, and Bechstein are often worth the cost of shipping, making this model feasible. We provide high-quality videos and photos so you know what you’re getting. Experienced pianists are always welcome to visit and try the pianos.

Digital Pianos

Digital pianos are another exception. They can be shipped easily, but some digital pianos fall under the same protected territories as acoustic pianos. There are two categories: MI (Musical Instruments) sold in places like Guitar Center and Sweetwater, and home units with protected territories.

Your Thoughts?

What do you think about protected territories in the piano industry? Is it good to protect dealers who invest in inventory, or should you be able to shop anywhere for the best price? Let’s get a discussion going at LivingPianos.com. We primarily sell used pianos and abide by all rules for new pianos, ensuring the survival of the piano business.