On a recent morning, pianist Jeremy Denk received a private preview of the newly renovated Frick Collection. But he wasn’t there for the art. Skipping the galleries, he headed straight to the museum’s revamped auditorium — a stunning, acoustically refined 220-seat space — where three Steinway concert grand pianos stood in line like contestants awaiting judgment.
Denk first approached an ornate rosewood Steinway grand from 1882. After warming up with some Bach and Beethoven’s Op. 111, he smiled and asked the room if they had any requests. “I’m happy to be a jukebox,” he joked. But beneath the lightheartedness, Denk was there on serious business: helping the Frick choose its very first owned piano.
Previously, the museum rented a piano for its beloved chamber concerts. With this major expansion led by architect Annabelle Selldorf — and a new hall designed to rival top-tier venues — the time had come for the Frick to invest in a permanent instrument.
The choice, however, wasn’t easy.
Frick’s newly appointed head of music and performance, Jeremy Ney, curated a shortlist with acoustician Raj Patel. The finalists were all Steinway Model Ds, but each had a unique sound shaped by its origin and era: the 1882 “Palisandra,” a 1965 model named “Volodya,” and a sleek 2017 Hamburg-made grand.
Over the weeks, several pianists visited the hall to test the contenders and share their thoughts ahead of the inaugural festival, set for April 26 through May 11. Denk was among them, meticulously exploring each instrument through a variety of works. “I’m looking for something you can make friends with without too much negotiation,” he said. The ideal piano would be versatile and immediately intuitive — crucial for the many soloists who would perform in the space.
Here’s a closer look at each piano vying for the spotlight:
The 1882 “Palisandra”: A Romantic Voice from the Past
This Centennial Model D Steinway was originally crafted for an exposition marking 100 years of American independence. Owned by Peter and Cathy Halstead of the Tippet Rise Art Center in Montana, its baroque flair and rosewood finish set it apart visually — and sonically.
Denk found much to admire in the Palisandra. “It’s eloquent,” he said, praising the piano’s warm tone through a wide range of music — from Beethoven to Ravel and even Shostakovich. However, he noted a potential concern: the heavy key action. The extra resistance requires adjustment and might challenge visiting performers used to more responsive instruments.
Still, Denk didn’t rule it out. Its distinctive character could be a unique asset — provided the Frick is prepared for a bit of a learning curve.
The 1965 “Volodya”: A Tale of Two Actions
The matte black Volodya, refurbished and loaned by piano technician Tali Mahanor, offered an unusual twist: a dual-action mechanism. With two interchangeable keyboard actions — one original and one modified — it allowed for quick tonal adjustments.
But the piano posed challenges. In an empty hall, the Volodya’s sound was extremely bright. “It’s really hard to control,” Denk said, concerned that it might overpower chamber partners like violinists. Swapping to the second action helped balance the tone but introduced new problems, particularly with pedaling. While playing Ravel’s Gaspard de la Nuit, Denk struggled to avoid muddy textures. “I’m just keeping my feet as far from the pedal as humanly possible,” he said, asking others if the sound remained clear.
Despite its flexibility, Denk questioned the Volodya’s reliability under pressure — especially in collaborative settings.
The 2017 Hamburg Steinway: Clarity and Power
Built in Hamburg, this glossy black Steinway reflects modern concert standards and is almost identical in appearance to most pianos seen on global stages. Its German craftsmanship gave it a unique tone: rounder, more lyrical, and meticulously balanced.
Denk appreciated its clarity through challenging works by Beethoven, Rachmaninoff, and Ligeti. “It has a nice singing tone,” he said. Yet he worried that its sound might be too powerful for the intimate auditorium. Still, from the audience’s perspective, Ney and Patel reassured him it sounded excellent.
To improve acoustics, Denk even suggested moving the piano slightly away from the wall — a minor adjustment that made a noticeable difference. “It may be,” he said thoughtfully, “that the distance from the wall is more meaningful here inch by inch.”
With the Frick’s opening festival on the horizon, the decision looms. Each piano brings something different: the antique warmth of Palisandra, the technical intrigue of Volodya, and the tonal precision of the Hamburg Steinway. Denk’s input — along with that of other top pianists — will help determine which instrument best suits this new chapter in the Frick’s musical history.
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