The sample I played, finished in high-gloss ebony, had definite class and sophistication. It very much reminded me of the 5′ 7″ Steinway M in my home, and could easily be mistaken for a 6′ or larger piano. It would be an excellent choice for use in a full-length recital.īaldwin’s 5′ 10″ BP178 grand was very close in quality to the BP190, and, like that model, is a great fit for pianists of all levels. The sample I played, situated in Hollywood’s performance space, was finished in high-gloss ebony, and was as beautiful to look at as it was to play. As it could easily be mistaken for a 7′ grand, it would be a fine piano for a church or small concert hall, but would also be well suited for a high-class living room, studio, classroom, or choral room. The BP190 had a wonderfully orchestral sonority, and was much less percussive than the Japanese pianos I’m accustomed to playing in schools. For volume control, the lid prop featured a mini-stick in addition to the standard half- and full-stick options - perfectly suited to accompanying singers and violinists who appreciate the richness and fullness of a grand but don’t like it overly loud. The pedal movement was a little shallow compared to that of a Steinway, for example, but easy to control. I was very impressed by its ability to repeat notes fast and reliably, and by the clean cutoff of sound when keys were released.
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The key dip felt a bit shallow, as I recall it did on many Baldwin pianos past, yet I can’t remember ever sampling a Baldwin with so many tonal colors, or one so well suited to the full range of repertoire, from Bach and Chopin to Rachmaninoff and Joplin.
Beginning with the largest and most expensive, I sampled a 6′ 3″ BP190 grand, which had a truly marvelous dynamic range across the entire keyboard.