Showing posts with label history. Show all posts
Showing posts with label history. Show all posts

Sunday 5 January 2014

The Early History of the Piano

The Piano was invented and developed to give keyboard instruments the ability to express a full range of dynamics. The harpsichords and spinets of the early 1700s could give out a big sound, but they lacked power of expression. The Clavichord was capable of expression but due to its small size, it was suited only for private playing.


Bartolomeo Cristofori was a maker of harpsichords and, aware musicians wanted a greater capacity to convey the full spectrum of passion and emotion - from the thunderous right through to the tender. With this in mind he set out to invent a mechanism that would produce this dynamic range for keyboard instruments. Taking the harpsichord as an experimental model, he replaced the plectra with a set of hammers. This was a radical shift away from the traditions of instrument makers and was a bold step into the unknown. Eventually his Piano e Forte was exhibited in 1711. 

By 1720, much less like an adapted harpsichord, the piano had become an instrument in a class of its own, it was a work of ingenious originality. Cristofori died in 1731. Leaving no pupils to continue its development along the lines he might have pursued himself, he
 entrusted his ‘piano e forte’ to the next generation of instrument builders to make of it, whatever they could.

During these early years, the piano was found only among the very rich and affluent. It was closely associated with culture and refinement, and its survival depended upon generous sponsorship from High Society and Royalty. For the piano to reach the greater part of society, it would have to be manufactured in large numbers and sold at affordable prices.
The piano quickly made its mark on the world of music and was fast becoming a very sought-after musical instrument. Inevitably it attracted the notice of enterprising businessmen who saw an opportunity to make healthy profits. 

Producing large numbers of pianos during the 19th century was no small achievement. In a few years differences of style developed in the piano-making countries. The Vienese School was initially very popular as their action was light and easy to play, but the English School produced a stronger, more sustained sound. The layout of the hammer action also differed - eventually what worked well, was adopted by all makers - even if some individualism of style and design was maintained.   

With a steady demand firmly established, the piano earned its permanent place in musical history. The world of music, without a piano, is impossible for us to imagine. Mankind would be so much the poorer if Bartolomeo Cristofori had not sought to satisfy the keyboard musician's craving for expression. 

The Piano World
© Steve Burden
Pianology


Thursday 26 December 2013

Grotrian Pianos - A short History

Grotrian Pianos deserver their place among the very best piano makers in the world. Since 1866, with a simple 'love of music' as their guiding principle, the family-owned Grotrian piano company has navigated the stormy seas of history and, with a dogged commitment to sheer craftsmanship, they have faced and overcome the challenges of industrial and economic change.

Fredrich Grotrian was born in Braunschweig in 1803 and in 1830 left Germany to establish a music business in Moscow. Maintaining close relationships with many pianists, he sought to understand what pianists look for in a piano. This knowledge was invaluable when he came to be building his own pianos. On his return to Germany1858, Fredrich became partner of a piano factory.  

In 1866, Wilhelm Grotrian became the sole proprietor of the factory and was able to develop his pianos with no outside or conflicting interests. In 1895, his sons Willi and Kurt became partners. To impart his straightforward purpose in making pianos, Wilhem said to his sons, "Lads, build good pianos and the rest will take care of itself." 

Willi and Kurt were sent on an international journey to gain experience in piano building, learning as they went what it meant to 'build good pianos!' They combined the best of their newly acquired knowledge with the craftsmanship inherent in Germany and soon established a golden reputation for quality and tone. 

The Grotrian piano factory was completely destroyed in the Second World War, but thanks to the perseverance and courage of Helmut and Erwin Grotrian, the sons of Kurt Grotrian, production was restored very soon after the war.

In 1974, a new factory was built iin 'Grotrian Street' in Braunschweig.


Directory of Piano Makers

©

Sunday 11 August 2013

Bosendorfer Pianos - The Early Years

 There were many piano builders in Vienna in 1828 when Ignaz Bosendorfer began building his pianos.  At 19, Ignaz Bosendofer began an apprenticeship with the organ & piano builder Joseph Brodman.

When he was 34 years old he took over the Brodman workshops and set about improving their pianos. The Viennese pianos were traditionally mellow in sound with a light and easy touch of the action. Improving the construction allowed for heavier strings and a stronger action, thus making the tone much more like that of the modern piano. 

In the piano world, high quality speaks for itself - the rugged reliability of Bösendorfer pianos won the admiration of virtuososFranz Liszt, known for his formidable technique found it difficult to find a piano that could withstand his vigourous playing - until friends suggested he try a Bosendorfer Piano for his recitals.
Using a Bosendorfer, he was impressed to find at the end of the recital, the piano was undamaged! This sensational moment established the Bosendorfer Piano's reputation and their long association with Franz Liszt who wrote, “The perfection of a Bösendorfer exceeds my most ideal expectations...”
Bösendorfer Pianos were soon exported to the rest of Europe and overseas so that Bosendorfer became the best-known of all Austrian pianos.
About 1860, Ludwig Bösendorfer succeeded his father in carrying on the business and moving to a new factory in New Vienna. Bösendorfer had to move again ten years later to cope with the growing demand for Bosendorfer Pianos.
Directory of Piano Makers

© Steve Burden

Wednesday 24 July 2013

Bechstein Pianos - A short History

Carl Bechstein had a firm grasp of piano making while still a young man, he also had an acute understanding of how to use publicity to further his business. His first grand piano was built in 1856 - a piano on which Hans von Bulow gave a concert playing Liszt's piano sonata. This concert earned the Bechstein Piano universal praise, and thus Bechstein became a piano-making force to be reckoned with!

The following year, Hans von Bulow is believed to have written that, "Bechstein is, in my opinion, the foremost maker of grand pianos in Germany, although he has built only three so far..." In 1861, still seeking to further the cause of Bechstein Pianos, he wrote to Klindworth insisting that the Bechstein Piano be properly demonstrated at the upcoming International Exhibition in London.

Sure enough, at the 1862 London Industrial Exhibition, Bechstein was awarded the English Grand Prix. The pianos were described as "distinguished by outstanding freshness and breadth of tone, quality of play and uniformity of the different registers..."
The Bechstein Piano appealed to the musical elite and to numerous Royal Households. In 1881, a Bechstein Piano was sent to Queen Victoria at Buckingham Palace. In 1885 what was to become the largest dealership in Europe was opened in London. During the early years of the 20th century the list of royal clients grew to include the tsars of Russia and the royal families of Spain, Belgium, the Netherlands, Italy, Sweden, Norway, Austria and Denmark.

The annual production from the Bechstein factories grew steadily. In 1900, annual production was about 3,700 pianos. By 1910, this had increased to about 4,600. 

Bechstein Pianos still have the something of their 'freshness and breadth of tone'! The build quality is legendary and even today, many pre 1900 Bechstein Pianos are thought worthy of total rebuilding. The Bechstein Piano deserves its status as one of the foremost Piano Makers of all time.
 

Sunday 16 June 2013

Ibach Pianos - A Short History

Ibach Pianos have been made since 1794 - and it is no surprise that the oldest piano-making operation should also produce the very finest of pianos. Solidly-built and beautifully put together, Ibach Pianos are instruments of elegance and distinction. A piano manufacturer's long history is like a bank of traditions and experience which brings purpose and direction to the long and complex process of building pianos. Pianists love to find a firm and responsive action with a clear and singing tone - these are the distinguishing features of Ibach Pianos.

There are many, very old examples of Ibach Pianos still being used today. Even if they are rather tired and long passed their best, the sheer quality of manufacture still shines through. 

It was Johann Adolph Ibach who in 1794, began building organs and pianos but soon chose to devote his efforts solely to pianos. He handed the business on to his son Carl Rudolph Ibach in 1825. Carl Rudolph, after establishing himself in the new role, sought to find an ever greater market for his product. He travelled to France and Spain entering his pianos in competitions and invariably coming away with an award.

From 1863, the 20 year-old Rudolph took charge and changed the name of the firm to Rudolph Ibach Sohn. His strong and dynamic personality soon enabled the extension of the factory to cope with the growing demand for Ibach pianos. Many of the great piano virtuosos of the time played Ibach pianos. 

Rudolph sent his son younger brother Walter to study the methods of other great piano makers. Walter spent some time in Paris with Gaveau but also visited Brussels, and London before going to America spending some years with George Steck. 

During World War II, the Ibach factories, concert halls, retail houses and even their archives were completely destroyed. At the close of the war, another chapter in the unfolding story of Ibach Pianos was begun at Schwelm. Ibach Pianos continue to be among the finest in the world. Modern Ibach Pianos still impress any pianist looking to play his music on a first-rate piano.  


Ibach family names include: Johann Adolph Ibach, Carl Rudolph Ibach, Peter Adolph Rudolph Ibach, Hulda Reyscher, Albert Rudolph Ibach, Johann Adolph Ibach, Rolph Ibach.

Wednesday 22 May 2013

Steinway Pianos - A Short History

The history of the Steinway Piano begins with Heinrich Steinweg. His father, a forester, had to leave his large family while taking his older sons with him to fight in the Napoleonic wars. On the father's return, only Heinrich and 2 other children had survived from the lack of proper food and shelter. Even this was not the harshest blow to hit the young Heinrich - shortly after, his father and the remainder of his family were all struck by lightening! Henrich's ability to survive was further proved when he was awarded a medal for bugling in the face of the enemy during the Battle of Waterloo.

After the war, while still in the army, he devoted his spare time to woodwork and the making musical instruments. He made a mandolin, a dulcimer and a zither. Perhaps he had absorbed an understanding of wood from his father, but his talent with wood was permanently to change his fortunes and by so doing, give the world of music the gift of the Steinway Piano!

Before long Heinrich had decided to devote all his time to the making of pianos. The political turmoil of 1848 threatened to interrupt the onward progress of the Steinweg family and business. His son Charles who had previously moved to New York, persuaded his father to join him in America. So it was that Heinrich Steinweg emigrated and changed his name to Henry Steinway.

Henry took great care in selecting timber for all the different parts of the piano. His innate understanding of wood was at the core of his piano building principles. His sons each absorbed Henry's vision and brought to the business their own skills and abilities as engineers, craftsmen and researchers.

1980s UK Letterhead

Firmly established as among the very best of piano makers, Steinways strengthened their place in the music world still more by sponsoring concerts and tours featuring the most prominent pianists from Europe and America. Consistently building success upon success, the Steinway Piano has earned its place on the concert platforms of the world. Many Steinway pianos become treasured heirlooms handed down from generation to generation.

The story of the Steinway piano began in the privations of the early 1800s but looks into the future with assured security and universal acclaim. - This is a worthy legacy from a young survivor with a talent with wood!  


©

Wednesday 22 August 2012

Broadwood Grand Pianos

Broadwood Pianos have been around since 1728. Not many examples of an 1860s Broadwood piano survive to this day, and even fewer of these are in good working order today. When new these pianos were stunning examples of high-quality, English craftsmanship. A hundred and fifty years takes quite a toll on a piano and ordinarily, I am not a fan of these relics of the 19th century but it is refreshing to be surprised by good examples when they are met with. I have come across 2 such pianos that deserve mention. 

1980s Broadwood Letterhead
One of the pianos must have been at least 7' 6" long - if you sat at the keyboard and squinted a little, you could just about make out the far end of the piano! I did not expect it to be up to pitch, but it was only a quarter-tone flat. The strings had been replaced at some point but the wrest pins were still the old, oblong ones that were fitted when new. One of the pins in the bi-chord section of the bass strings had snapped off, so instead of two strings on that note, there was only one.

The hammers had been recovered, but not terribly well - the high treble hammers jammed against the front edge of the wrest plank. Not too much of a problem for most players, but we fussy old tuners like all the notes to work! 

The rich colours of its rosewood case, made it a very fine-looking piece of furniture. The flat wooden pedals always look odd to modern eyes but at least they are the 'real thing' - if they had ever been replaced with modern pedals, it would no longer look the part.

The ivory keys were still white and still had a shine to them. Some were worn thin in the middle of the playing surface, but this is not surprising after more than a century of use. So often, the original ivories are yellowed with age, and more often than not a few of the originals have been replaced with ill-fitting substitutes.

So there it was, this remarkable old piano, in a charmingly renovated house that was even older than the piano, - a perfect setting for an instrument so well-preserved. The fascinating thing is that after 150 years, this piano is still regularly played, loved and appreciated. John Braodwood & Sons certainly knew how to build a piano that would last! 

The second piano is another grand - the serial number of this piano does not fit neatly into any of the categories listed in the Pierce's Atlas, but I reckon it must have been made about 1860. 

The case, for its age, is stunning - the rich Rosewood veneer still boasting the bold stripes of the grain. The polish has been preserved to the point that most would not think it in need of any particular attention.

But from a tuner's point of view, the most remarkable thing is that it is only a little flat in pitch - (I believe when this piano was built, the standard pitch was a little lower than A 440.) Over the years, 2 bass strings have been replaced, and couple of treble strings - apart from these, the strings are those fitted when new! A few treble strings are absent. The original oblong tuning pins still holding firmly in the original wrest plank! 

The piano is regularly used to accompany singers, occasionally for concerts but is always appreciated by pianists and audiences alike. Live music is still a wonderful social phenomenon that dates back to long before this piano was made.

The action is one of the odd incarnations of Broadwood's own design but still playing acceptably and capable of expression and colour. The tone is the one big give-away, but even here, the sound is extremely good for its type.

These grand old pianos are from a time when serious craftsmen built everything to last, a time when gentleman tuners wore hats. If I had a hat, I would take it from my head as a mark of respect, a salute to the beauty of  esteemed craftsmanship. These pianos are works of the piano-maker's art.   

©

Friday 8 June 2012

Schiedmayer Pianos

The first Schiedmayer Piano was built around 1735 - still early days in the history of the piano. It is not known how Balthasar Schiedmayer, who was born in 1711, came to be building pianos but his name would be associated with piano-making of distinction and excellence long into the 21st century.

By 1845, the business was based in Stuttgart and headed by Johann Lorenz Schiedmayer who brought his sons into the business and changed the name to Schiedmayer and Soehne. 

The younger sons of Johann Lorenz, Julius and Paul, spent some time in London and Paris and eventually established themselves in Stuttgart around 1853 building harmoniums under the name of J & P Schiedmayer.

In 1860, when the harmonium market was saturated, the shrewd business decision was taken to concentrate solely on building pianos and thus the business name was changed to Schiedmayer Pianofabrik. 

A while back, I worked on a Schiedmayer Grand. It was very old - I reckon it was made about 1895. I have commented elsewhere that I do not think anyone should spend serious money on pianos of this age. For this piano, a day spent regulating the action so as to make the best of its existing state was as far as I was prepared to go.

I was impressed that though so old, this piano still has all the qualities of a respectable and durable piano. Reassuring to know that a quality instrument such as this Schiedmayer, used daily, continues to sing out its piano music with a good deal of finesse even after more than 100 years.



Directory of Piano Makers


©

Monday 26 March 2012

DO NOT WRITE ON MY PIANO

In days of old, tuners used to sign their name and write the tuning dates inside the piano, usually on the back of the keys where it was unseen by the owner. Occasionally, there might be the added comment, "Raised pitch." or "C = 522", or even, "C = 517"!

These notes, written in classic piano tuner's scribble, can take some deciphering but they are a reliable record of the piano's service history. Early in my career I used to tune a piano that had a complete list of tuning dates since the piano was new in about 1912, up until the 1930s. The tuning interval was generally every four months - with a few six-month gaps here and there. There was writing on nearly every key!

By way of contrast, a particular customer prepared for my arrival by taking the parts off the piano himself, and, just for my benefit, had written an A4 size sign which read: "NOTICE TO THE PIANO TUNER, DO NOT WRITE ON MY PIANO". A previous tuner had signed his name in it and was never asked to tune it again! The customer was a fascinating character - a very good pianist, full of amazing stories from the 1940s and 50s. He bought his piano in Bristol during the war, the day after an air raid!

Anyway, he was both proud and very fond of his piano, and wanted to keep it in as immaculate a condition as possible. There was no need for him to worry about my signing his piano - I have signed or initialled only about 5 pianos during my entire career - his, was not one of them!

While repairing a George Rogers piano a year or so ago, I found, on the underside of one of the keys, the hand-written words 'Glazebrook Pianos'. Now, I don't know if there is a family link, but there were Glazebrooks involved at Steinways! Whoever wrote on the underside of the key was very coy about what he was writing - only a tuner with reason to lift out that particular key would ever see it. Why bother?

The writing in some of these old pianos, does give them a social setting and a hint of the community history that goes with it. These scribbles on the inside of a piano, are authentic written records of the relationships built up between tuners, their clients and their pianos.

© Steve Burden