维基百科摘录了一些Bösendorfer和Bechstein 琴的录音，供参考

Bösendorfer recordings:
•        Aldo Ciccolini recorded his second traversal of the piano music of Erik Satie on a Bösendorfer; his first traversal was on a Steinway. Both are included in French EMI set 50999685824 2 5, offering record listeners an unusual opportunity for direct comparison of the two instruments.
•        Peter Hill recorded Havergal Brian's complete piano music on a Bösendorfer Imperial[30] at the Northern College of Music for Cameo Classics. John Ogdonhighly praised the recordings in his review for Tempo.[31]
•        Gerhard Oppitz in 1989 recorded a complete traversal of the solo piano music of Johannes Brahms on an Imperial Grand.[32]
•        Awadagin Pratt more recently recorded Mussorgsky's Pictures at an Exhibition, his own transcription of Bach's Passacaglia and Fugue in C minor, BWV 582, and Brahms's Variations and Fugue on a Theme by Handel on an Imperial Grand.[33]
•        Sviatoslav Richter recorded Bach's Well-Tempered Clavier on a Bösendorfer at Salzburg in two settings of 1972 and 1973.[34]
•        Carol Rosenberger recorded music of Liszt, Griffes, Ravel, and Debussy[35] and Beethoven's Appassionata and op. 111[36] sonatas on an Imperial Concert Grand.
•        Moritz Rosenthal played a Bösendorfer for his celebrated series of recordings for HMV.[37]
•        Terry Riley's 1986 minimalist piano piece written in Just intonation, The Harp of New Albion, was recorded on a Bösendorfer Imperial grand piano, specially tuned for Riley himself.[citation needed]
•        Robert Silverman committed a complete Beethoven sonata cycle to computer hard drive on a Bösendorfer 290SE reproducing piano. John Atkinson ofStereophile magazine then recorded a similar piano at the Maestro Foundation recital hall in Santa Monica, California replaying the files;[38] the resulting CDs were issued as a 10-disc set.[39]
•        Robert Ekelund – Two albums of piano pieces performed by economist and pianist Robert Ekelund, performed on the Murray N. and JoAnn B. Rothbard Bösendorfer Imperial Concert Grand Piano in the Mises Institute's Conservatory. Ekelund also performed Brahms Rhapsody Op. 79, No. 2; J.S. Bach, Gigue, French Suite No. 5 (G-major).
•        Valentina Lisitsa Chopin's 24 études D.V.D. track. Op. 10 and Op. 25 études.
•        Igor Stravinsky's Le Sacre du Printemps, The Firebird and Petrushka played by Dag Achatz and Roland Pöntinen on BIS Records was played on a BosendorferModel 275
•        Kimiko Douglass-Ishizaka has recorded J.S. Bach's Goldberg Variations for public domain release on the Internet by the Open Goldberg Variationsproject, an initiative sponsored in part by Bösendorfer. She played a C290 Imperial fitted with the CEUS system.[40] Accompanying the recording—offered in MP3, FLAC, and 24 bit 44 K WAV formats—is a freshly made copy of the full score.[41] Ishizaka also recorded Bach's The Well-Tempered Clavier on a Bösendorfer 280.

Bechstein  recordings:

Edwin Fischer chose a Bechstein piano for his pioneering recording of Bach's The Well Tempered Clavier, as did Artur Schnabel for his cycle of Beethoven's 32 piano sonatas. Both artists were very fond of Bechstein pianos, as were many of the 20th century's leading pianists, such as Wilhelm Kempff, Wilhelm Backhaus, Walter Gieseking and Jorge Bolet.
Polish pianist Władysław Szpilman (famous thanks to the movie The Pianist) used a Bechstein piano until 1941 in his family private apartments in Warsaw.
For his studio recording of the music of Chopin and Beethoven, Dinu Lipatti used a Bechstein piano.
Anna Ivanova (2011) played Liszt's personal 1880 Bechstein grand piano, which is displayed in the Liszt Haus in Weimar (Germany). Recordings of her playing both this grand piano, and the Bechstein 576 (which was delivered March 17, 1862 to Franz Liszt), which presently is being displayed at the Bechstein Centre in Berlin, can be found on YouTube.

分析到位，确实是理性的角度分析。