Steinway D-274
Since those early years, only two notable improvements to the model have been made: a concentric shaping of the soundboard, a design patented by younger family member Paul Bilhuber, was introduced in 1936; more recently the action was changed to provide a greater mechanical advantage to the player, resulting in less touch resistance with no loss of power.
This was a time of remarkable advance: In 1878, Steinway began producing their new small Models 'A' and 'B' with laminated maple cabinets, creating the modern "rim" case: Very long, thin (3.5 mm) planks of maple were slathered with hide glue, bent around a form, clamped together and allowed to dry.
[13] After the concert success of an 1883 prototype 'D'[14] that featured a laminated case, radically higher string tension and capo bar (which began at note 36 yet retained vestigial agraffes all the way to note 88), Steinway unveiled the 1884 'D', a fully realized new model with a redesigned scale (including a 20-note instead of a 17-note bass), a capo bar in both upper treble sections, a newly designed pedal lyre, and a multi-laminated case.
[15] In subsequent years few changes occurred, though the instrument's length increased slightly (the "rim type" D concert grand pianos from 1884 to about 1895 were only 272 cm long).
Bilhuber had created a soundboard that tapered evenly from the thickest central point to a thinner perimeter, and it was judged to provide greater response and longevity.
Further, because they were a hard and dimensionally stable substance (fixed into wood, which is not), at certain times of the year they would loosen in their holes and cause clicking during play.
An explanation is found not only in their exceptional quality but in their sophisticated marketing programs – the Steinway Artists program and the concert grand piano banks in New York City, London, and Hamburg have virtually guaranteed the loyalty of concert artists worldwide.
Outwardly, New York and Hamburg 'D's differ most noticeably in finish, with the former displaying traditional satin lacquer and the latter high-gloss polyester.
[18] Differences in the respective instruments' tone and playing character, however, have led particular pianists to gravitate to the output of one factory or the other; Vladimir Horowitz, for instance, preferred a New York 'D', whereas Marc-Andre Hamelin, Alfred Brendel, Mitsuko Uchida, Burkard Schliessmann, Grigory Sokolov, Arcadi Volodos, Artur Rubinstein and Krystian Zimerman were partial to the Hamburg product.
Sergei Rachmaninoff bought three 'D's, all New York products, for his homes in the United States, but he installed a Hamburg 'D' in his Swiss villa.
The following list includes some relatively recent examples in a variety of mostly advanced formats, including classical, folk, blues, and new-age albums; one high-end audio test disc; and a celebrated fraud: The D-274 has also featured in many television programs, including: For the convenience of touring performers[61] and in the belief that every D-274 is somewhat different in character,[62] Steinway maintains a collection of D-274s in "concert grand piano banks" across the world;[61] for instance, the company maintains more than 40 in the basement of Steinway Hall in Manhattan.
[62] A pianist visiting one of these banks may sample and choose from a range of D-274s, according to taste, for public performance or recording; Steinway prepares and transports the chosen instrument,[61] although the artist bears the cost of these services.
In 1982, Michael Lenehan published an article in Atlantic Monthly in which he followed the construction of a D-274, designated as K 2571 during manufacture and later, after its adoption into the piano bank program, as CD-129.
The original article, dating to approximately the time of the company's sale to CBS, described many practices held over from the 19th century, mostly personalized by focusing on individual employees tasked with performing them, but it also touched on what then were prospective changes under consideration to modernize certain aspects of production.
[62] In 2003, The New York Times ran a series of articles,[10] ultimately published in book form,[63] following the construction of a D-274 designated K 0862.
