Piano and Music Videos

Can't find what you're looking for?

Welcome to LivingPianos.com, I’m Robert Estrin. Today we’re diving into an exciting comparison of two renowned 9-foot concert grand pianos: the Steinway and the Baldwin. We have some exceptional instruments here for you to explore, and I’m eager to hear your thoughts in the comments section! If you want to hear a comparison between vintage and modern Steinway concert grands, click here!

Steinway Model D: A Timeless Classic

Let’s begin with a stunning 1916 Steinway Model D. This piano has been masterfully restored to concert condition and is a beautiful example of Steinway’s legendary craftsmanship. To give you a sense of its rich, resonant sound, I’ll play an excerpt from Chopin’s Ballade in G minor. Watch the video to hear the performances!

Baldwin SD-10: Modern Elegance

Next, we’ll move to the back showroom where we have two remarkable Baldwin concert grands. First, let’s hear the 1996 Baldwin SD-10, which is all original and has been barely played. We’ve prepared this piano thoroughly to showcase its distinctive sound. Listen to the same Chopin excerpt on this instrument to appreciate its unique tonal qualities.

Baldwin SD-6: A Vintage Gem

For our final comparison, we have a 1941 Baldwin SD-6 that has also been expertly rebuilt. This piano provides yet another fascinating sound profile. I’ll play the same musical excerpt to highlight its individual character.

Share Your Thoughts!

Each piano offers its own unique voice and tonal differences. I’m interested in hearing which one resonates with you the most. Please leave your impressions and preferences in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me!

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

“Steinway vs Baldwin: Which Concert Grand Sounds Best?”

Welcome to LivingPianos.com, I’m Robert Estrin. Today we’re diving into an exciting comparison of two renowned 9-foot concert grand pianos: the Steinway and the Baldwin. We have some exceptional instruments here for you to explore, and I’m eage

Welcome to LivingPianos.com, I’m Robert Estrin. Today we have a fascinating comparison for you. We’ll be comparing a vintage Steinway concert grand to a 2000’s model to highlight the differences between them. Our demonstration will feature two excerpts from Chopin Nocturnes to showcase each instrument’s unique qualities.

Modern Steinway Concert Grand

First, we’ll listen to a 2004 Steinway concert grand, which remains in its original, barely used condition. We’ll hear an excerpt from Chopin’s F-sharp Nocturne. Pay attention to the tonal characteristics and how they resonate with you. Watch the video to hear these two wonderful instruments!

Vintage Steinway Concert Grand

Next, we’ll turn to a 1916 Steinway concert grand, which has been meticulously rebuilt and restored with its original soundboard. We’ll hear an excerpt from Chopin’s B-flat minor Nocturne on this vintage instrument. Listen closely to the tonal differences and see which piano appeals to you more.

The Distinctive Nature of Steinway Pianos

It’s worth noting that every Steinway concert grand is unique. Each piano is hand-built, and there are variations in the woods used—since no two trees are identical—contribute to the distinct sound of each instrument. The individual craftsmanship results in noticeable differences between pianos. There is also a general charactaristic of sound to older compared to newer Steinways. What do you think about these pianos? Do you hear any distinct differences between vintage and modern Steinways? Let us know in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, your online piano store. Thanks for joining me!

For premium videos and exclusive content, you can join my Living Pianos Patreon channel at www.Patreon.com/RobertEstrin

If you’re interested in private lessons or have any questions, feel free to contact me at Robert@LivingPianos.com. I have many resources available for you!

Vintage VS Modern Steinway Concert Grands

Welcome to LivingPianos.com, I’m Robert Estrin. Today we have a fascinating comparison for you. We’ll be comparing a vintage Steinway concert grand to a 2000’s model to highlight the differences between them. Our demonstration will feature

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you the top 5 myths about piano teaching.

Myth 1: Great Teachers Don’t Take Beginners

It’s a common belief that top-tier piano teachers only work with advanced students. While it’s true that many high-level instructors at conservatories focus on refining the skills of already proficient players, this doesn’t mean they don’t teach beginners. In fact, teaching beginners can be immensely rewarding and crucial for a student’s development. Many skilled teachers are adept at guiding students from their first notes to advanced techniques. The foundation laid by a dedicated beginner teacher can pave the way for future mastery.

Myth 2: Every Other Week Lessons Are Ineffective

I used to think that having piano lessons every other week could hinder progress due to a lack of consistency. However, my experience teaching online has shown that bi-weekly lessons can be highly effective. Students who are committed and manage their practice well can thrive with this schedule. The key is ensuring that students are motivated and make the most of the time between lessons.

Myth 3: Great Teachers Are Strict

Many parents seek out strict teachers, believing that rigid rules and discipline will lead to better outcomes. While some students may respond well to a strict approach, effective teaching generally involves understanding and communication. It’s important to tailor your approach to each student’s needs and personality. A successful teacher builds a relationship with their student to address any obstacles and support their growth.

Myth 4: Great Teachers Have A Well-Formed Lesson Plan

Another misconception is that exceptional teachers adhere to a fixed lesson plan. While it’s essential for teachers to have a structured approach that includes progressive repertoire, technique, and theory, flexibility is crucial. Each student is unique, and teaching should be adapted to fit their individual needs and goals. A good teacher listens to their students and adjusts their methods accordingly, rather than applying a one-size-fits-all plan.

Myth 5: Students Must Always Follow a Prescribed Path

Finally, the idea that there is a single correct path for all piano students is misleading. Effective teaching involves collaboration between teacher and student. Teachers must be adaptable and responsive, creating a learning experience that aligns with each student’s personal journey. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me!

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin.

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com.

Top 5 Piano Teaching Myths

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you the top 5 myths about piano teaching. Myth 1: Great Teachers Don’t Take Beginners It’s a common belief that top-tier piano teachers only work with advanced st

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: Why are Steinways so expensive? Did you know that even a baby grand Steinway is over $80,000? Concert grands are over $200,000! What could possibly make pianos so expensive when you can get other baby grands for around $10,000? Is it all marketing? Well, here’s the truth. And everything I’m going to tell you today doesn’t just apply to Steinway. It applies to other American pianos, like Mason and Hamlin, as well as European pianos such as Blüthner, Bechstein, Fazioli in Italy, Bösendorfer in Austria, and even hand-built pianos from Yamaha and Shigeru Kawai in Japan.

Hand-built pianos have many different technologies.

In the case of Steinway, American pianos, and many European pianos, the way the plates are manufactured is a much more time-consuming task. Instead of using a simple vacuum mold process, which is quick and precise, they do it the old-school way of wet sand casting. The benefit is that the metal is denser. It takes a long time to cure the metal, so it’s much more labor-intensive and time-consuming. There’s also the choice of wood. It’s much more expensive to find fine hardwoods. Sourcing the finest soundboard material, which is the heart and soul of your piano, is no easy task. They search the world over for woods that have very fine grain, which is noted for the vibrancy and sustain of the sound. The craftsmanship of these instruments requires a great deal of handwork. All pianos require handwork, but when you’re talking about hand-built pianos, the meticulousness that it takes to craft these instruments is on a higher level. It can take a year to make each piano!

Hand-built pianos are not mass-produced.

You have companies like Pearl River, which is the number one piano producer in the world by volume. They make over 100,000 pianos a year! Contrast that with Steinway, who makes maybe ,2500 pianos a year. You can see how the economy of scale enters into this equation. So is there anything you can do to be able to get a piano of that quality and not have to pay such a fortune? I have another video about this. You can check out how you can get a Steinway for less money if that’s something you’re interested in. Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

How Can You Afford A Steinway?
https://www.youtube.com/watch?v=9GJlzVc0tBU

Why Are Steinways So Expensive?

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: Why are Steinways so expensive? Did you know that even a baby grand Steinway is over $80,000? Concert grands are over $200,000! What could possibly make pianos so expens


Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to talk about Steinway. What happened to Steinway? I’m going to give you 20 true or false statements, so get your pencil and paper ready! But first, I’m going to give a brief history of this venerable piano company. Of course, you all know Steinway, but I’m going to tell you some things you maybe don’t know about the company.

In 1850, Henry Steinweg, a German immigrant, witnessed a show put on by P.T. Barnum, and it featured a Chickering piano.

Chickering was a piano company going back to the 1820s in the United States. The show inspired him so much that they could barely drag him off the stage. A few years later, in 1853, he founded Steinway & Sons in New York, and the company remained under family ownership for generations. In 1880, Steinway opened a second factory in Hamburg, Germany. In 1931, the accelerated action was introduced, a new technology that caught the attention of many pianists. In 1936, Steinway introduced their patented diaphragmatic soundboard, which was a way of tapering the soundboard to produce the distinctive Steinway sound. Finally, in 1972, corporate ownership happened with CBS purchasing Steinway & Sons.

In 1992, Steinway introduced the Boston Piano brand. This is an OEM piano, designed by Steinway and produced in Japan by Kawai, with many Steinway elements—not the Steinway piano design, but many elements that Steinway specified in the pianos produced by Kawai in Japan. In 1995, Steinway merged with Selmer Industries, the makers of woodwind and brass instruments. Then, in 2001, Steinway introduced their Essex piano, made by Young Chang. But a few years later, in 2004, Young Chang suffered a bankruptcy. So in 2006, they started having the Essex produced in China by the world’s largest piano manufacturer, Pearl River, which is where they’re still made today.

In 2015, Steinway introduced Spirio, a player system that is only available in pianos that are built by Steinway and only in new Steinway pianos. This system introduced many innovative technologies. They took old recordings and digitized them so you can have your piano play Rubinstein when he was young, or things of that nature. And then, in 2019, they added a record function to Spirio.

Now get ready for the true or false statements!

A lot of these may be difficult, particularly this first one. And this is a very provocative statement:

1. Steinway makes a Mickey Mouse piano.

That sounds like blasphemy, doesn’t it? And some of you may wonder what I’m talking about here. Is it possibly true that Steinway makes a Mickey Mouse piano? This is TRUE This is a specially designed Steinway, and it is hand painted.

Mickey Mouse Piano

If you’ve got $375,000, you can get one of these ultra-limited edition Steinways for yourself. This isn’t the only limited edition Steinway they have, but it’s one of the more amusing ones. They have all sorts of different designer pianos that have extraordinarily high price tags. When you consider that even an entry-level Steinway baby grand is over $80,000, you can see how these limited runs would be expensive.

2. Steinway has stopped producing their accelerated action.

This has been something many people look for in Steinways. Is it possible they stopped producing their accelerated action? This is TRUE! Why would they stop making the accelerated action, which so many people like? Well, a lot of it comes down to the fact that Steinway has made every effort to make the pianos that are made in Hamburg similar to the pianos that are made in New York. For example, for many decades, they had the 5′ 10 1/2″ grand piano Model L made in New York and the exact same size Model O made in Hamburg. Well, they discontinued the L, so the O is now made in both factories. Also, a few years ago, they reintroduced the Model A in New York. For decades, the A was only made in Hamburg. So they have made improvements in their action and felt the accelerated action is no longer necessary. Pianists and technicians, I’d love to hear from all of you in the comments. How do you feel about the discontinuation of the accelerated action?

3. Steinway stopped making the 1098 studio piano.

This is TRUE. You can no longer buy a Steinway studio piano. They do not make any studio pianos.

4. Steinway is discontinuing all uprights made in New York.

This is TRUE. The K-52, the full-size upright, will no longer be made in New York. The only upright piano available from Steinway will be the K-132, manufactured in Hamburg, Germany.

5. Steinway has stopped making the Model S baby grand.

At 5′ 1″, the Model S is almost as expensive as the 5′ 7″ Model M, which is one of their most popular models. People have been saying that Steinway is no longer making the Model S. Is this true? This one is FALSE. The S is still in production, just as before. My personal piano is a Model S that my grandfather got for my father in the 1930s. We rebuilt it a number of years ago, and it’s still going strong! It’s a wonderful little baby grand.

6. Steinway moved their rebuilding off-site to Iowa.

Is this possible? They’ve always done their rebuilding in their New York factory. Did they really move their rebuilding to Iowa? This is TRUE. They are doing all of their rebuilds in Iowa. They ship their pin blocks and sound boards. In fact, that’s the only place where sound boards and pin blocks made by Steinway are available other than on new Steinway pianos made in New York and Hamburg.

7. Steinway refinishes their pianos in New Jersey.

This is actually partially true, but I have to say this is FALSE. There is a facility in New Jersey where they ship very few pianos for refinishing if they have extremely intricate woodwork. Think about the nightmare of logistics involved if they had all their pianos refinished in New Jersey! At first, I thought maybe this was true because I had heard this rumor. I thought maybe environmental laws in New York prohibited the new polyester high-gloss finishes that Steinway is offering. But no, this is false. Only a select few pianos are actually refinished in New Jersey.

8. Steinway is going public.

This is actually FALSE. There were murmurs about this, but they withdrew their SEC filing recently. They may still go public in the future. It could happen. But as of right now, there are no immediate plans for going public. I know a lot of people would like to invest in Steinway. It’s one of the strongest brand names out there.

9. Half of Steinways made in New York have Spirio systems.

This is actually TRUE. Half of the New York pianos have Spirio systems in them, and they’re selling them like hotcakes! It’s actually helped them tremendously to increase their sales.

10. Spirio is available on all Steinway models.

When you hear that half of their pianos have these systems, this sounds very plausible. But this is FALSE. The spirio is only available on the Model M, Model B, and the Model D concert grands. And yet half the total number of pianos they sell have Spirio systems. So a lot of B’s, M’s, and D’s have Spirio systems in them.

11. Spirio adds $20,000 to the cost of a piano.

This is FALSE. It actually adds $29,000 to the cost of new Steinways! Can you imagine? So if you want it, the only way you can get it is on a new Steinway.

12. For $29,000, you get a piano that records and plays back.

This is FALSE. If you want to be able to record as well as playback, it adds $48,000 to the price of a Steinway! So the least expensive recording Spirio Steinway, the 5′ 7″ Model M, will set you back $124,800 now in 2024.

13. Spirio-Cast plays live on other Spirio pianos.

This is TRUE! Somebody can play a Spirio in one place, and other Spirios can play that performance at the same time. You can have Lang Lang or Yuja Wang play your piano! That’s what Spirio is all about. That’s why people pay the big bucks to get it. Since there are so many Steinway artists out there, being able to have a library of Steinway artists is a big selling point for the Spirio system.

14. Steinway owns Renner.

Renner is the company that makes the action that’s available on Bösendorfer, Fazioli, Petrof, and so many other pianos. This is actually TRUE. Steinway bought Renner a few years ago. They’ve been using Renner actions on their Hamburg Steinways for years.

15. Hamburg and New York Steinways have the same hammers.

This is actually FALSE. There are unique hammers that are only available on New York Steinways, giving them a different sound from the Hamburg Steinways.

16. Steinway no longer makes their keyframes the way they traditionally have made them.

This is TRUE. They’re using what they say is a sturdier construction. Some technicians might find it a little harder to work on because it’s a heavier build, but they say that these are going to be more robust. So indeed, the keyframes are not made the same way they have always made them.

17. Steinway has sped up its manufacturing to meet demand.

According to Steinway, this is FALSE. They have added more workers to try to keep up with demand, but it still takes just as long to produce their pianos. It can take up to a year to produce a Steinway piano! There’s a lot involved in building pianos.

18. It is illegal to buy a Steinway decal.

This is actually TRUE. Steinway has made it illegal to buy their decals. So if you have a Steinway piano that you’ve had rebuilt and refinished, you might not be able to get a decal if your piano has been refinished unless you use all Steinway parts. But the catch is, you can’t buy Steinway pin blocks or soundboards. So if you rebuild your Steinway, you can’t buy the decals like you can for virtually every other piano brand in the world. Why does Steinway do this? Well, Steinway says it’s because they want to assure that anything that says Steinway on the front has the high quality associated with their name, so it doesn’t tarnish their reputation. Some people say it’s because used Steinways are actually the biggest competition Steinway has, because if somebody wants a Steinway, they’re probably not going to buy a Yamaha, Kawai, or any other piano. They want a Steinway. So they’re probably going to seek out a used Steinway if they can’t afford a new one. Who knows what the truth is. It could be elements of both.

19. 90% of concert artists play Steinway pianos.

This is actually FALSE. Over 97% of concert artists play Steinways! Why is this? Is Steinway that much better than every other piano brand? There are so many great piano companies. But the fact of the matter is, one by one, all the piano companies supporting the concert market have dropped out. The last holdout up until near the end of the 20th century was Baldwin. Baldwin had a good share of the concert market. But think of the daunting task of having concert grands ready in virtually every major city in the world. Even Yamaha tried to do that in the late 90s but couldn’t swing it. It was just too much of a burden to have these pianos prepped and ready for the concert stage in every major city. So any touring concert pianist really has no choice. They have to go with Steinway if they want to have pianos to play on in concerts all around the world.

20. The most expensive Steinway costs a million dollars.

A Steinway concert grand costs over $200,000. Are there any models that cost $1 million? Well, this is a misleading question because the answer is FALSE. The most expensive Steinway costs $2.5 million! What piano could possibly command $2.5 million? Well, this is the rare hand-painted Pictures at an Exhibition piano, named after the famous piece by Mussorgsky.

expensive steinway

All of the movements of this magnificent work are painted on this one-of-a-kind piano that is just unbelievably intricate in its painting.

How well did you do with these 20 true or false questions?

Let us know in the comments here at LivingPianos.com how well you did with these 20 true or false questions! How many did you get right? How many of them surprised you? Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

What Happened to Steinway?

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to talk about Steinway. What happened to Steinway? I’m going to give you 20 true or false statements, so get your pencil and paper ready! But first, I’m going to

Welcome to LivingPianos.com, I’m Robert Estrin. I’m here today with the piano owned by Thomas Edison! This piano was purchased by Thomas Edison in 1890 for $725! It’s a Steinway Model B with 85 keys, which is the last year Steinway offered pianos with less than 88 keys. This piano has had some restoration, but is largely original. There are other artifacts about it that are so fascinating, you’re not going to believe it!

This instrument was one of the first pianos ever recorded!

Everybody knows that Thomas Edison invented the light bulb, but he also invented the phonograph two years earlier in 1877. I have here a recording made, perhaps on this piano, from the late 1800s. It’s played on an original Edison phonograph which used wax cylinders instead of familiar discs. You can hear quite a difference in the recording quality compared to modern recording. But it is remarkable that recordings could be made so long ago. I have the original invoice here from 1890 from Steinway, and a letter Thomas Edison wrote to Steinway from his laboratory.

From the Laboratory
of
Thomas A. Edison

Orange, New Jersey, June 2nd, 90-

Steinway and Sons,

Gents,

I have decided to keep your grand piano.
For some reason unknown to me It gives
better results than any so far tried.
Please send bill with lowest price.

Yours,

Thomas A. Edison

Thomas Edison's Letter to Steinway

Isn’t that unbelievable? Well, you might wonder where this piano came from.

I’m very pleased to introduce to you someone who you may have seen before here at LivingPianos.com, The Steinway Hunter: Bob Friedman who located this piano and whose home in upstate New York I am in right now.

Robert Estrin:
Bob, it’s a pleasure to be with you here.

Bob Friedman:
Well, thank you. It’s nice that you came to visit me.

Robert Estrin:
A lot of people might not know that you are The Steinway Hunter.

You have perhaps found and sold more Steinway pianos than anyone ever!

I don’t know if that’s true, but it’s arguably true, wouldn’t you say?

Bob Friedman:
I’d say that I haven’t stopped for close to 50 years now. So if I get up to bat every day and do this until the big leagues close, then maybe that will be true!

Robert Estrin:
I know there are so many great stories in The Steinway Hunter, your book, which is a fabulous read. But tell us about how you came upon this piano.

Bob Friedman:
Interestingly enough, it was put up for sale on EstateSale.com in Huntington, Long Island.

Robert Estrin:
Did they even know what they had?

Bob Friedman:
They knew what they had, but they didn’t know the value in the history of the instrument. After all the research was done and all the paperwork confirmed that it was Thomas Edison’s piano, the one that was in his laboratory music room from 1890 when he purchased it new from Steinway until 1929. I bought the piano.

Robert Estrin:

What are your plans for this piano?

I know here it is in your living room, which is awesome. But you have so many pianos coming and going. This should be in a museum or something, shouldn’t it?

Bob Friedman:
We’re hoping to do a Smithsonian documentary, and then to try and find a home for it in a museum that would like to house the piano.

Robert Estrin:
That would be great! I understand The New York Times was here to do a write up on the piano.

Bob Friedman:
We made some discoveries about the instrument.

Thomas Edison was nearly 100% deaf, and the only way he could hear his instruments and his music boxes was to bite into them.

It just so happens that Edmund Morris, who is a Pulitzer Prize winning biographer who did the last biography on Thomas Edison, completed in 2019, wrote in his book that Edison would bite his piano. The proof was really not out there. It was information that he’d researched over his life and he put it in his book. Well, we made that discovery! A very good associate of mine, who is a historian for Edison, found the bite marks on the piano right there. So, I called up James Barron, who’s a staff writer for The New York Times, and the minute he heard that he said, “I’d like to do a story on the piece.”

Robert Estrin:
People may be thinking, “Why would he bite his piano and his phonograph?” It seems kind of crazy. But it’s because sound travels through solid much more readily than through the air. So your teeth are a fantastic conductor of sound.

Bob Friedman:
The sound goes up into your head. Your head feels like a tuning fork. That’s how Edison heard his piano.

Robert Estrin:
Thank you so much for inviting me into your home and allowing me to play this historical piano. I appreciate it.

Bob Friedman:
And I appreciate it!

Robert Estrin:
We also have here today a wonderful historian who knows a tremendous amount about Thomas Edison. He’s a musician and he’s a piano technician. He also has an incredible collection of early phonographs going back to the 1800s! He can tell us a little bit about the technology. And because he has the unique perspective of being a piano technician and also an Edison historian, he’s going to shed a lot of light on this subject for you.

I’m really pleased to introduce to you, Charles Frommer. Charles, thanks so much for joining us today.

 

Charles Frommer:
Thanks for having me!

Robert Estrin:
You prepped this piano and I’m loving what you did with it. It sounds amazing for an instrument from 1890! It is pretty incredible.

Charles Frommer:
It was a pleasure to work on it. The story goes that Bob Friedman had me come in to tune Thomas Edison’s piano. I was very excited. I’ve been a fan of recording history since I was a kid.

Robert Estrin:
And you have quite a collection of phonographs. What’s the oldest recording gear you own?

Charles Frommer:

My oldest piece of recording equipment is an 1898 Berliner Gramophone, which was sort of the competitor to the cylinder phonograph at the time.

 

Robert Estrin:
A lot of people don’t know that the precursor to the disc was the cylinder. And the reason why discs won out is that you could store them more easily. But was there any sonic advantage to the disc initially?

Charles Frommer:
The discs were more convenient. They were easier to manufacture because you could press them like pancakes, and they were easier to store. They were also a little louder. But Edison was correct in noting that the surface speed was constant on a cylinder, whereas on a disc, as it gets towards the inside, if the rotation is steady, you have less surface per time and the quality reduces. Edison was fairly stubborn in his resistance to using disc technology. I think it was only in 1911 or thereabouts that Edison yielded and made discs. His discs were still different in that he continued his vertical cut technology.

Robert Estrin:

Another interesting thing about Edison is that he chose artists based on how well they reproduced on his technology.

 

He was less interested in the musical content. On many of his cylinders, he wouldn’t even put the names of the artists. He was more concerned with how they sounded. Which is why you have mentioned that he recorded a lot of banjo, because the transients could cut through.

Charles Frommer:
Banjos and woodblocks. Things with a very quick decay. There was actually a diaphragm that vibrated, much like the surface of a banjo. It was connected directly to the cutter, which would cut the wax. That made the groove. There was no electronic interface in between until about 1925. What I find interesting is that there’s a picture of Edison later in life listening to his assistant who’s playing music. He was actually somewhat controlling of the music that he had on his label. He liked to choose what bands would record and what tunes would be recorded. I think his favorite song was I’ll Take You Home Again, Kathleen. But he would sit and listen while somebody played.

Robert Estrin:
So a dental professional confirmed that these are indeed teeth marks. Is that right?

Charles Frommer:
Yes. I didn’t know what they were. Personally, I was just here to tune. I was halfway through tuning it and I noticed these marks on the top. Usually when a piano has been played by a professional, you will see marks on the fallboard. So I was puzzled by this. And suddenly, I remembered having read somewhere that Edison, being almost completely deaf, would sink his teeth into the wood of his phonograph to listen to records. It was then that I realized that’s what these marks are!

Robert Estrin:
What’s really remarkable is that although this piano has had some restoration along the way with a new sound board, new strings, hammers, and damper felt, that nobody got rid of these marks. And thank goodness for that! It has tremendous historic significance. It is a wonderful instrument and I just want to thank both you and Bob for sharing this instrument with everybody out there.

Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

You can find Bob Friedman’s book, The Steinway Hunter HERE!

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Thomas Edison’s Piano

Welcome to LivingPianos.com, I’m Robert Estrin. I’m here today with the piano owned by Thomas Edison! This piano was purchased by Thomas Edison in 1890 for $725! It’s a Steinway Model B with 85 keys, which is the last year Steinway