Most of the discussion has centered on large concert grands with the assumption that one size fits all. This makes me wonder whether we've lost sight of the true salon piano. Smaller venues would have put different demands on piano builders of the early 20th century. There would not have been as great a need for hard, driving hammers. Perhaps, therefore, lighter, unlacquered hammers and a different geometry would have worked great then and should be (or could be) the chosen route for smaller pianos today. Several years ago there was a rush toward very light hammers and a geometry to match. That seems to have fallen out of fashion because that design didn't work very well on big pianos in large venues. How did that choice work on smaller pianos? Much has been said about the virtue of choice and diversity, so perhaps we shouldn't put all of our eggs in one design basket. Perhaps we could rediscover the unvarnished (unlacquered) Steinway sound of old, recreated in the smaller salons of the world. Especially now when we have so many hammer and parts choices. Richard West
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