As this paper is composed from a technical point of view, some
elucidation of facts, forming the basis of it, is desirable before we
proceed to the chronological statement of the subject. These facts are
the strings, and their strain or tension; the sound-board, which is the
resonance factor; and the bridge, connecting it with the strings. The
strings, sound-board, and bridge are indispensable, and common to
all stringed instruments. The special fact appertaining to keyboard
instruments is the mechanical action interposed between the player and
the instrument itself. The strings, owing to the slender surface they
present to the air, are, however powerfully excited, scarcely audible.
To make them sufficiently audible, their pulsations have to be
communicated to a wider elastic surface, the sound-board, which, by
accumulated energy and broader contact with the air, re-enforces the
strings' feeble sound. The properties of a string set in periodic
vibration are the best known of the phenomena appertaining to acoustics.
The molecules composing the string are disturbed in the string's
vibrating length by the means used to excite the sound, and run off into
sections, the comparative length and number of which depend partly upon
the place in the string the excitement starts from; partly upon the
force and the form of force that is employed; and partly upon the
length, thickness, weight, strain, and elasticity of the string, with
some small allowance for gravitation. The vibrating sections are of
wave-like contour; the nodes or points of apparent rest being really
knots of the greatest pressure from crossing streams of molecules. Where
the pressure slackens, the sections rise into loops, the curves of which
show the points of least pressure. Now, if the string be struck upon a
loop, less energy is communicated to the string, and the carrying power
of the sound proportionately fails. If the string be struck upon a node,
greater energy ensues, and the carrying power proportionately gains.
By this we recognize the importance of the place of contact, or
striking-place of the hammer against the string; and the necessity, in
order to obtain good fundamental tone, which shall carry, of the note
being started from a node.
If the hammer is hard, and impelled with force, the string breaks into
shorter sections, and the discordant upper partials of the string, thus
brought into prominence, make the tone harsh. If the hammer is soft, and
the force employed is moderated, the harmonious partials of the longer
sections strike the ear, and the tone is full and round. By the
frequency of vibration, that is to say, the number of times a string
runs through its complete changes one way and the other, say, for
measurement, in a second of time, we determine the pitch, or relative
acuteness of the tone as distinguished by the ear.
We know, with less exactness, that the sound-board follows similar laws.
The formation of nodes is helped by the barring of the sound-board,
a ribbing crosswise to the grain of the wood, which promotes the
elasticity, and has been called the "soul" of stringed musical
instruments. The sound-board itself is made of most carefully chosen
pine; in Europe of the _Abies excelsa_, the spruce fir, which, when well
grown, and of light, even grain, is the best of all woods for resonance.
The pulsations of the strings are communicated to the sound-board by the
bridge, a thick rail of close-grained beech, curved so as to determine
their vibrating lengths, and attached to the sound-board by dowels. The
bridge is doubly pinned, so as to cut off the vibration at the edge
of the bearing the strings exert upon the bridge. The shock of each
separate pulsation, in its complex form, is received by the bridge,
and communicated to such undamped strings as may, by their lengths, be
sensitive to them; thus producing the Æolian tone commonly known as
sympathetic, an eminently attractive charm in the tone of a pianoforte.
We have here strings, bridge, and sound-board, or belly, as it is
technically called, indispensable for the production of the tone, and
indivisible in the general effect. The proportionate weight of
stringing has to be met by a proportionate thickness and barring of the
sound-board, and a proportionate thickness and elevation of the bridge.
The tension of the strings is met by a framing, which has become more
rigid as the drawing power of the strings has been gradually increased.
In the present concert grands of Messrs. Broadwood, that drawing power
may be stated as starting from 150 lb. for each single string in the
treble, and gradually increasing to about 300 lb. for each of the single
strings in the bass. I will reserve for the historical description of
my subject some notice of the different kinds of framing that have been
introduced. It will suffice, at this stage, to say that it was at first
of wood, and became, by degrees, of wood and iron; in the present day
the iron very much preponderating. It will be at once evident that the
object of the framing is to keep the ends of the strings apart. The near
ends are wound round the wrest-pins, which are inserted in the wooden
bed, called the wrest-plank, the strength and efficiency of which are
most important for the tone and durability of the instrument. It is
composed of layers of wainscot oak and beech, the direction of the
grain being alternately longitudinal and lateral. Some makers cover the
wrest-plank with a plate of brass; in Broadwood's grands, it is a plate
of iron, into which, as well as the wood, the wrest-pins are screwed.
The tuner's business is to regulate the tension, by turning the
wrest-pins, in which he is chiefly guided by the beats which become
audible from differing numbers of vibrations. The wrest-plank is
bridged, and has its bearing like the soundboard; but the wrest-plank
has no vibrations to transfer, and should, as far as possible, offer
perfect insensibility to them.
I will close this introductory explanation with two remarks, made by the
distinguished musician, mechanician, and inventor, Theobald Boehm, of
Munich, whose inventions were not limited to the flute which bears his
name, but include the initiation of an important change in the modern
pianoforte, as made in America and Germany. Of priority of invention he
says, in a letter to an English friend, "If it were desirable to
analyze
all the inventions which have been brought forward, we should find that
in scarcely any instance were they the offspring of the brain of a
single individual, but that all progress is gradual only; each worker
follows in the track of his predecessor, and eventually, perhaps,
advances a step beyond him." And concerning the relative value of
inventions in musical instruments, it appears, from an essay of his
which has been recently published, that he considers improvement in
acoustical proportions the chief foundation of the higher or lower
degree of perfection in all instruments, their mechanism being but of
secondary value.
I will now proceed to recount briefly the history of the pianoforte from
the earliest mention of that name, continuing it to our contemporary
instruments, as far as they can be said to have entered into the
historical domain. It has been my privilege to assist in proving that
Bartolommeo Cristofori was, in the first years of the 18th century,
the real inventor of the pianoforte, but with a wide knowledge and
experience of how long it has taken to make any invention in keyed
instruments practicable and successful, I cannot believe that Cristofori
was the first to attempt to contrive one. I should rather accept his
good and complete instrument as the sum of his own lifelong studies and
experiments, added to those of generations before him, which have left
no record for us as yet discovered.
The earliest mention of the name pianoforte (_piano e forte_), applied
to a musical instrument, has been recently discovered by Count Valdrighi
in documents preserved in the Estense Library, at Modena. It is dated
A.D. 1598, and the reference is evidently to an instrument of the spinet
or cembalo kind; but how the tone was produced there is no statement,
no word to base an inference upon. The name has not been met with
again between the Estense document and Scipione Maffei's well-known
description, written in 1711, of Cristofori's "gravecembalo col piano e
forte." My view of Cristofori's invention allows me to think that the
Estense "piano e forte" may have been a hammer cembalo, a very
imperfect
one, of course. But I admit that the opposite view of forte and piano,
contrived by registers of spinet-jacks, is equally tenable.
Bartolommeo Cristofori was a Paduan harpsichord maker, who was invited
by Prince Ferdinand dei Medici to Florence, to take charge of the large
collection of musical instruments the Prince possessed. At Florence he
produced the invention of the pianoforte, in which he was assisted and
encouraged by this high-minded, richly-cultivated, and very musical
prince. Scipione Maffei tells us that in 1709 Cristofori had completed
four of the new instruments, three of them being of the usual
harpsichord form, and one of another form, which he leaves undescribed.
It is interesting to suppose that Handel may have tried one or more of
these four instruments during the stay he made at Florence in 1708. But
it is not likely that he was at all impressed with the potentialities of
the invention any more than John Sebastian Bach was in after years when
he tried the pianofortes of Silbermann.
The sketch of Cristofori's action in Maffei's essay, from which I have
had a working model accurately made, shows that in the first instruments
the action was not complete, and it may not have been perfected when
Prince Ferdinand died in 1713. But there are Cristofori grand pianos
preserved at Florence, dated respectively 1720 and 1726, in which an
improved construction of action is found, and of this I also exhibit
a model. There is much difference between the two. In the second,
Cristofori had obtained his escapement with an undivided key,
reconciling his depth of touch, or keyfall, with that of the
contemporary harpsichord, by driving the escapement lever through the
key. He had contrived means for regulating the escapement distance, and
had also invented the last essential of a good pianoforte action, the
check. I will explain what is meant by escapement and check. When, by
a key being put down, the hammer is impelled toward the strings, it is
necessary for their sustained vibration that, after impact, the hammer
should rebound or escape; or it would, as pianoforte makers say,
"block," damping the strings at the moment they should sound.
A dulcimer player gains his elastic blow by the free movement of the
wrist. To gain a similarly elastic blow mechanically in his first
action, Cristofori cut a notch in the butt of his hammer from which the
escapement lever, "linguetta mobile" as he called
it--"hopper," as we
call it--being centered at the base, moved forward, when the key was put
down, to the extent of its radius, and after the delivery of the blow
returned to its resting place by the pressure of a spring. The first
action gave the blow with more direct force than the second, which had
the notch upon what is called the underhammer, but was defective in
the absence of any means to regulate the distance of the "go-off,"
or
"escapement" from the string. In the second action, a small check
before
the hopper is intended to regulate it, but does so imperfectly. The
pianoforte had to wait for fifty years for satisfactory regulation of
the escapement.
In the first action, the hammer rests in a silken fork, dropping the
whole distance of the rise of every blow. The check in the second
action, the "paramartello," is next in importance to the
escapement. It
catches the back part of the hammer at different points of the radius,
responding to the amount of force the player has used upon the key. So
that in repeated blows, the rise of the hammer is modified, and the
notch is nearer to the returning hopper in proportionate degree.
I have given the first place in description to Cristofori's actions,
instead of to the "cembalo" or instrument to which they were
applied,
because piano and forte, from touch, became possible through them, and
what else was accomplished by Cristofori was due, primarily, to the
dynamic idea. He strengthened his harpsichord sound-board against
a thicker stringing, renouncing the cherished sound-holes. Yet the
sound-box notion clung to him, for he made openings in his sound-board
rail for air to escape. He ran a string-block round the case, entirely
independent of the sound-board, and his wrest-plank, which also became
a separate structure, removed from the sound-board by the gap for the
hammers, was now a stout oaken plank which, to gain an upward bearing
for the strings, he inverted, driving his wrest-pins through in the
manner of a harp, and turning them in like fashion to the harp. He had
two strings to a note, but it did not occur to him to space them into
pairs of unisons. He retained the equidistant harpsichord scale, and
had, at first, under-dampers, later over-dampers, which fell between the
unisons thus equally separated. Cristofori died in 1731. He had pupils,
one of whom made, in 1730, the, "Rafael d'Urbino," the favorite
instrument of the great singer Farinelli. The story of inventive
Italian pianoforte making ends thus early, but to Italy the invention
indisputably belongs.
The first to make pianofortes in Germany was the famous Freiberg
organ-builder and clavichord maker, Gottfried Silbermann. He submitted
two pianofortes to the judgment of John Sebastian Bach in 1726, which
judgment was, however, unfavorable; the trebles being found too weak,
and the touch too heavy. Silbermann, according to the account of Bach's
pupil, Agricola, being much mortified, put them aside, resolving not to
show them again unless he could improve them. We do not know what these
instruments were, but it may be inferred that they were copies of
Cristofori, or were made after the description of his invention by
Maffei, which had already been translated from Italian into German,
by Koenig, the court poet at Dresden, who was a personal friend of
Silbermann. With the next anecdote, which narrates the purchase of all
the pianofortes Silbermann had made, by Frederick the Great, we are upon
surer ground. This well accredited occurrence took place in 1746. In
the following year occurred Bach's celebrated visit to Potsdam, when he
played upon one or more of these instruments. Burney saw and described
one in 1772. I had this one, which was known to have remained in the new
palace at Potsdam until the present time unaltered, examined, and, by a
drawing of the action, found it was identical with Cristofori's. Not,
however, being satisfied with one example, I resolved to go myself to
Potsdam; and, being furnished with permission from H.R.H. the Crown
Princess of Prussia, I was enabled in September, 1881, to set the
question at rest of how many grand pianofortes by Gottfried Silbermann
there were still in existence at Potsdam, and what they were like. At
Berlin there are none, but at Potsdam, in the music-rooms of Frederick
the Great, which are in the town palace, the new palace, and Sans
Souci--left, it is understood, from the time of Frederick's death
undisturbed--there are three of these Silbermann pianofortes. All three
are with unimportant differences having nothing to do with structure,
Cristofori instruments, wrest plank, sound-board, string-block, and
action; the harpsichord scale of stringing being still retained. The
work in them is undoubtedly good; the sound-boards have given in the
trebles, as is usual with old instruments, from the strain; but I should
say all three might be satisfactorily restored. Some other pianofortes
seem to have been made in North Germany about this time, as our own
poet Gray bought one in Hamburg in 1755, in the description of which we
notice the desire to combine a hammer action with the harpsichord which
so long exercised men's minds.
The Seven Years' War put an end to pianoforte making on the lines
Silbermann had adopted in Saxony. A fresh start had to be made a few
years later, and it took place contemporaneously in South Germany and
England. The results have been so important that the grand pianofortes
of the Augsburg Stein and the London Backers may be regarded,
practically, as reinventions of the instrument. The decade 1770-80 marks
the emancipation of the pianoforte from the harpsichord, of which before
it had only been deemed a variety. Compositions appear written expressly
for it, and a man of genius, Muzio Clementi, who subsequently became the
head of the pianoforte business now conducted by Messrs. Collard, came
forward to indicate the special character of the instrument, and found
an independent technique for it.
A few years before, the familiar domestic square piano had been
invented. I do not think clavichords could have been altered to square
pianos, as they were wanting in sufficient depth of case; but that the
suggestion was from the clavichord is certain, the same kind of case and
key-board being used. German authorities attribute the invention to an
organ builder, Friederici of Gera, and give the date about 1758 or 1760.
I have advertised in public papers, and have had personal inquiry made
for one of Friederici's "Fort Biens," as he is said to have called
his
instrument. I have only succeeded in learning this much--that Friederici
is considered to have been of later date than has been asserted in the
text-books. Until more conclusive information can be obtained, I must
be permitted to regard a London maker, but a German by birth, Johannes
Zumpe, as the inventor of the instrument. It is certain that he
introduced that model of square piano which speedily became the fashion,
and was chosen for general adoption everywhere. Zumpe began to make
his instruments about 1765. His little square, at first of nearly five
octaves, with the "old man's head" to raise the hammer, and
"mopstick"
damper, was in great vogue, with but little alteration, for forty years;
and that in spite of the manifest improvements of John Broadwood's
wrest-plank and John Geib's "grasshopper." After the beginning of
this
century, the square piano became much enlarged and improved by Collard
and Broadwood, in London, and by Petzold, in Paris. It was overdone in
the attempt to gain undue power for it, and, about twenty years ago,
sank in the competition, with the later cottage pianoforte, which was
always being improved.
To return to the grand pianoforte. The origin of the Viennese grand is
rightly accredited to Stein, the organ builder, of Augsburg. I will
call it the German grand, for I find it was as early made in Berlin as
Vienna. According to Mozart's correspondence, Stein had made some grand
pianos in 1777, with a special escapement, which did not "block"
like the pianos he had played upon before. When I wrote the article
"Pianoforte" in Dr. Grove's "Dictionary," no Stein
instrument was
forthcoming, but the result of the inquiries I had instituted at that
time ultimately brought one forward, which has been secured by the
curator of the Brussels Museum, M. Victor Mahillon. This instrument,
with Stein's action and two unison scale, is dated 1780. Mozart's grand
piano, preserved at Salzburg, made by Walther, is a nearly contemporary
copy of Stein, and so also are the grands by Huhn, of Berlin, which I
took notes of at Berlin and Potsdam; the latest of these is dated 1790.
An advance shown by these instruments of Stein and Stein's followers is
in the spacing of the unisons; the Huhn grands having two strings to
a note in the lower part of the scale, and three in the upper. The
Cristofori Silbermann inverted wrest-plank has reverted to the usual
form; the tuning pins and downward bearing being the same as in the
harpsichord. There are no steel arches as yet between the wrest-plank
and the belly-rail in these German instruments. As to Stein's
escapement, his hopper was fixed behind the key; the axis of the hammer
rising on a principle which I think is older than Stein, but have not
been able to trace to its source, and the position of his hammer is
reversed. Stein's light and facile movement with shallow key-fall,
resembling Cristofori's in bearing little weight, was gratefully
accepted by the German clavichord players, and, reacting, became one of
the determining agents of the piano music and style of playing of the
Vienna school. Thus arose a fluent execution of a rich figuration and
brilliant passage playing, with but little inclination to sonorousness
of effect, lasting from the time of Mozart's immediate followers to that
of Henri Herz; a period of half a century. Knee-pedals, as we translate
"geuouillères," were probably in vogue before Stein, and were
levers
pressed with the knees, to raise the dampers, and leave the pianoforte
undamped, a register approved of by Carl Philip Emmanuel Bach, who
regarded the undamped pianoforte as the more agreeable for improvising..
He appears, however, to have known but little of the capabilities of
the instrument, which seemed to him coarse and inexpressive beside his
favorite clavichord. Stein appears to have made use of the "una
corda"
shift. Probably by knee-pedals, subsequently by foot-pedals, the
following effects were added to the Stein pianos.
The harpsichord "harp"-stop, which muted one string of each
note by
a piece of leather, became, by the interposition of a piece of cloth
between the hammer and the strings, the piano, harp, or _celeste_. The
more complete sourdine, which muted all the strings by contact of a long
strip of leather, acted as the staccato, pizzicato, or pianissimo. The
Germans further displayed that ingenuity in fancy stops Mersenne had
attributed to them in harpsichords more than a hundred and fifty years
before, by a bassoon pedal, a card which by a rotatory half-cylinder
just impinging upon the strings produced a reedy twang; also by pedals
for triangle, cymbals, bells, and tambourine, the last drumming on the
sound-board itself.
Several of these contrivances may be seen in a six-pedal grand
pianoforte belonging to Her Majesty the Queen, at Windsor Castle,
bearing the name as maker of Stein's daughter, Nannette, who was a
friend of Beethoven. The diagram represents the wooden framing of such
an instrument.
We gather from Burney's contributions to "Rees's Cyclopaedia,"
that
after the arrival of John Christian Bach in London, A.D. 1759, a few
grand pianofortes were attempted, by the second-rate harpsichord makers,
but with no particular success. If the workshop tradition can be relied
upon that several of Silbermann's workmen had come to London about that
time, the so-called "twelve apostles," more than likely owing to
the
Seven Years' War, we should have here men acquainted with the Cristofori
model, which Silbermann had taken up, and the early grand pianos
referred to by Burney would be on that model. I should say the "new
instrument" of Messrs. Broadwood's play-bill of 1767 was such a grand
piano; but there is small chance of ever finding one now, and if an
instrument were found, it would hardly retain the original action, as
Messrs. Broadwood's books of the last century show the practice of
refinishing instruments which had been made with the "old
movement."
[Illustration: Fig. 1.]
Burney distinguishes Americus Backers by special mention. He is said
to have been a Dutchman. Between 1772 and 1776, Backers produced the
well-known English action, which has remained the most durable and one
of the best up to the present day. It refers in direct leverage to
Cristofori's first action. It is opposite to Stein's contemporary
invention, which has the hopper fixed. In the English action, as in the
Florentine, the hopper rises with the key. To the direct leverage of
Cristofori's first action, Backers combined the check of the second, and
then added an important invention of his own, a regulating screw and
button for the escapement. Backers died in 1776. It is unfortunate we
can refer to no pianoforte made by him. I should regard it as treasure
trove if one were forthcoming in the same way that brought to light the
authentic one of Stein's. As, however, Backers' intimate friends, and
his assistants in carrying out the invention, were John Broadwood and
Robert Stodart, we have, in their early instruments, the principle and
all the leading features of the Backers grand. The increased weight
of stringing was met by steel arches placed at intervals between the
wrest-plank and the belly-rail, but the belly-rail was still free from
the thrust of the wooden bracing, the direction of which was confined to
the sides of the case, as it had been in the harpsichord.
Stodart appears to have preceded Broadwood in taking up the manufacture
of the grand piano by four or five years. In 1777 he patented an
alternate pianoforte and harpsichord, the drawing of which patent shows
the Backers action. The pedals he employed were to shift the harpsichord
register and to bring on the octave stop. The present pedals were
introduced in English and grand pianos by 1785, and are attributed to
John Broadwood, who appears to have given his attention at once to the
improvement of Backers' instrument. Hitherto the grand piano had been
made with an undivided belly-bridge, the same as the harpsichord had
been; the bass strings in three unisons, to the lowest note, being of
brass. Theory would require that the notes of different octaves should
be multiples of each other and that the tension should be the same for
each string. The lowest bass strings, which at that time were the note
F, would thus require a vibrating length of about twelve feet. As only
half this length could be afforded, the difference had to be made up in
the weight of the strings and their tension, which led, in these early
grands, to many inequalities. The three octaves toward the treble could,
with care, be adjusted, the lengths being practically the ideal lengths.
It was in the bass octaves (pianos were then of five octaves) the
inequalities were more conspicuous. To make a more perfect scale and
equalize the tension was the merit and achievement of John Broadwood,
who joined to his own practical knowledge and sound intuitions the aid
of professed men of science. The result was the divided bridge, the bass
strings being carried over the shorter division, and the most beautiful
grand pianoforte in its lines and curves that has ever been made was
then manufactured. In 1791 he carried his scale up to C, five and a
half octaves; in 1794 down to C, six octaves, always with care for the
artistic, form. The pedals were attached to the front legs of the stand
on which the instrument rested. The right foot-pedal acted first as
the piano register, shifting the impact of each hammer to two unisons
instead of three; a wooden stop in the right hand key-block permitted
the action to be shifted yet further to the right, and reducing the blow
to one string only, produced the pianissimo register or _una corda_ of
indescribable attractiveness of sound. The cause of this was in the
reflected vibration through the bridge to the untouched strings. The
present school of pianoforte playing rejects this effect altogether, but
Beethoven valued it, and indicated its use in some of his great works.
Steibert called the _una corda_ the _celeste_, which is more appropriate
to it than Adam's application of this name to the harp-stop, by which
the latter has gone ever since.
Up to quite the end of the last century the dampers were continued to
the highest note in the treble. They were like harpsichord dampers
raised by wooden jacks, with a rail or stretcher to regulate their rise,
which served also as a back touch to the keys. I have not discovered the
exact year when, or by whom, the treble dampers were first omitted,
thus leaving that part of the scale undamped. This bold act gave the
instrument many sympathetic strings free to vibrate from the bridge when
the rest of the instrument was played, each string, according to its
length, being an aliquot division of a lower string. This gave the
instrument a certain brightness or life throughout, an advantage which
has secured its universal adoption. The expedients of an untouched
octave string and of utilizing those lengths of wire that lie beyond the
bridges have been brought into notice of late years, but the latter was
early in the century essayed by W. F. Collard.
From difficulties of tuning, owing to friction and other causes, the
real gain of these expedients is small, and when we compare them with
the natural resources we have always at command in the normal scale
of the instrument, is not worth the cost. The inventor of the damper
register opened a floodgate to such aliquot re-enforcement as can be got
in no other way. Each lower note struck of the undamped instrument,
by excitement from the sound-board carried through the bridge, sets
vibrating higher strings, which, by measurement, are primes to its
partials; and each higher string struck calls out equivalent partials
in the lower strings. Even partials above the primes will excite
their equivalents up to the twelfth and double octave. What a glow of
tone-color there is in all this harmonic re-enforcement, and who would
now say that the pedals should never be used? By their proper use,
the student's ear is educated to a refined sense of distinction of
consonance and dissonance, and the intention and beauty of Chopin's
pedal work becomes revealed.
The next decade, 1790-1800, brings us to French grand pianoforte-making,
which was then taken up by Sebastian Erard. This ingenious mechanic and
inventor traveled the long and dreary road along which nearly all who
have tried to improve the pianoforte have had to journey. He appears, at
first, to have adopted the existing model of the English instrument in
resonance, tension, and action, and to have subsequently turned his
attention to the action, most likely with the idea of combining the
English power of gradation with the German lightness of touch. Erard
claimed, in the specification to a patent for an action, dated 1808,
"the power of giving repeated strokes, without missing or failure, by
very small angular motions of the key itself."
Once fairly started, the notion of repetition became the dominant idea
with pianoforte-makers, and to this day, although less insisted upon,
engrosses time and attention that might be more usefully directed. Some
great players, from their point of view of touch, have been downright
opposed to repetition actions. I will name Kalkbrenner, Chopin, and, in
our own day, Dr. Hans von Bülow. Yet the Erard's repetition, in the form
of Hertz's reduction, is at present in greater favor in America and
Germany, and is more extensively used, than at any previous period.
The good qualities of Erard's action, completed in 1821, the germ of
which will be found in the later Cristofori, are not, however, due to
repetition capability, but to other causes, chiefly, I will say, to
counterpoise. The radical defect of repetition is that the repeated
note can never have the tone-value of the first; it depends upon the
mechanical contrivance, rather than the finder of the player, which is
directly indispensable to the production of satisfactory tone. When the
sensibility of the player's touch is lost in the mechanical action, the
corresponding sensibility of the tone suffers; the resonance is not,
somehow or other, sympathetically excited.
Erard rediscovered an upward bearing, which had been accomplished by
Cristofori a hundred years before, in 1808. A down-bearing bridge to the
wrest-plank, with hammers striking upward, are clearly not in relation;
the tendency of the hammer must be, if there is much force used, to
lift the string from its bearing, to the detriment of the tone. Erard
reversed the direction of the bearing of the front bridge, substituting
for a long, pinned, wooden bridge, as many little brass bridges as there
were notes. The strings passing through holes bored through the little
bridges, called agraffes, or studs, turned upward toward the wrest-pin.
By this the string was forced against its rest instead of off it. It
is obvious that the merit of this invention would in time make its use
general. A variety of it was the long brass bridge, specially used
in the treble on account of the pleasant musical-box like tone its
vibration encouraged. Of late years another upward bearing has found
favor in America and on the Continent, the Capo d'Astro bar of M. Bord,
which exerts a pressure upon the strings at the bearing point.
About the year 1820, great changes and improvements were made in the
grand pianoforte both externally and in the instrument. The harpsichord
boxed up front gave way to the cylinder front, invented by Henry Pape,
a clever German pianoforte-maker who bad settled in Paris. Who put the
pedals upon the familiar lyre I have not been able to learn. It would
be in the Empire time, when a classical taste was predominant. But the
greatest change was from a wooden resisting structure to one in which
iron should play an important part. The invention belongs to this
country, and is due to a tuner named William Allen, a young Scotchman,
who was in Stodart's employ. With the assistance of the foreman, Thom,
the invention was completed, and a patent was taken out, dated the 15th
of January, 1820, in which Thom was a partner. The patent was, however,
at once secured by the Stodarts, their employers. The object of the
patent was a combination of metal tubes with metal plates, the metallic
tubes extending from the plates which were attached to the string-block
to the wrest-plank. The metal plates now held the hitch-pins, to which
the farther ends of the strings were fixed, and the force of the tension
was, in a great measure, thrown upon the tubes. The tubes were a
mistake; they were of iron over the steel strings, and brass over the
brass and spun strings, the idea being that of the compensation of
tuning when affected by atmospheric change, also a mistake. However,
the tubes were guaranteed by stout wooden bars crossing them at right
angles. At once a great advance was made in the possibility of using
heavier strings, and the great merit of the invention was everywhere
recognized.
James Broadwood was one of the first to see the importance of the
invention, if it were transformed into a stable principle. He had tried
iron tension bars in past years, but without success. It was now due to
his firm to introduce a fixed stringed plate, instead of plates intended
to shift, and in a few years to combine this plate with four solid
tension bars, for which combination he, in 1827, took out a patent,
claiming as the motive for the patent the string-plate; the manner of
fixing the hitch-pins upon it, the fourth tension bar, which crossed the
instrument about the middle of the scale, and the fastening of that bar
to the wooden brace below, now abutting against the belly-rail, the
attachment being effected by a bolt passing through a hole cut in the
sound-board.
This construction of grand pianoforte soon became generally adopted in
England and France. Messrs. Erard, who appear to have had their own
adaptation of tension bars, introduced the harmonic bar in 1838. This,
a short bar of gun metal, was placed upon the wrest-plank immediately
above the bearings of the treble, and consolidated the plank by screws
tapped into it of alternate pressure and drawing power. In the original
invention a third screw pressed upon the bridge. By this bar a very
light, ringing treble tone was gained. This was followed by a long
harmonic bar extending above the whole length of the wrest-plank, which
it defends from any tendency to rise, by downward pressure obtained by
screws. During 1840-50, as many as five and even six tension bars were
used in grand pianofortes, to meet the ever increasing strain of
thicker stringing. The bars were strutted against a metal edging to the
wrest-plank, while the ends were prolonged forward until they abutted
against its solid mass on the key-board side of the tuning-pins. The
space required for fixing them cramped the scale, while the strings were
divided into separate batches between them. It was also difficult to
so adjust each bar that it should bear its proportionate share of the
tension; an obvious cause of inequality.
Toward the end of this period a new direction was taken by Mr. Henry
Fowler Broadwood, by the introduction of an iron-framed pianoforte, in
which the bars should be reduced in number, and with the bars the steel
arches, as they were still called, although they were no longer arches
but struts.
In a grand pianoforte, made in 1847, Mr. Broadwood succeeded in
producing an instrument of the largest size, practically depending upon
iron alone. Two tension bars sufficed, neither of them breaking into the
scale: the first, nearly straight, being almost parallel with the lowest
bass string; the second, presenting the new feature of a diagonal bar
crossed from the bass corner to the string-plate, with its thrust at an
angle to the strings.
There were reasons which induced Mr. Broadwood to somewhat modify and
improve this framing, but with the retention of its leading feature, the
diagonal bar, which was found to be of supreme importance in bearing the
tension where it is most concentrated. From 1852, his concert grands
have had, in all, one bass bar, one diagonal bar, a middle bar with
arch beneath, and the treble cheek bar. The middle bar is the only one
directly crossing the scale, and breaking it. It is strengthened by
feathered ribs, and is fastened by screws to the wooden brace below. The
three bars and diagonal bar, which is also feathered, abut firmly on the
string plate, which is fastened down to the wooden framing by screws.
Since 1862, the wooden wrest-plank has been covered with a plate of
iron, the iron screw-pin plate bent at a right angle in front. The
wrest-pins are screwed into this plate, and again in the wood below.
The agraffes, which take the upward bearings of the strings, are firmly
screwed into this plate. The long harmonic bar of gun metal lies
immediately above the agraffes, and crossing the wrest-plank in its
entire width, serves to keep it, at the bearing line, in position. This
construction is the farthest advance of the English pianoforte.
[Illustration: FIG. 2.--WILLIAM ALLEN.]
Almost simultaneously with it has arisen a new development in America,
which, beginning with Conrad Meyer, about 1833, has been advanced by the
Chickerings and Steinways to the well known American and German grand
pianoforte of the present day. It was perfected in America about in
1859, and has been taken up since by the Germans almost universally, and
with very little alteration. Two distinct principles have been developed
and combined--the iron framing in a single casting, and the cross or
overstringing. I will deal with the last first, because it originated in
England and was the invention of Theobald Boehm, the famous improver of
the flute. In Grove's "Dictionary," I have given an approximate
date to
his overstringing as 1835, but reference to Boehm's correspondence with
Mr. Walter Broadwood shows me that 1831 was really the time, and
that Boehm employed Gerock and Wolf, of 79 Cornhill, London, musical
instrument makers, to carry out his experiment. Gerock being opposed
to an oblique direction of the strings and hammers, Boehm found a more
willing coadjutor in Wolf. As far as I can learn, a piccolo, a cabinet,
and a square piano were thus made overstrung. Boehm's argument was that
a diagonal was longer within a square than a vertical, which, as he
said, every schoolboy knew. The first overstrung grand pianos seen in
London were made by Lichtenthal, of St. Petersburg; not so much for tone
as for symmetry of the case; two instruments so made were among the
curiosities of the Great Exhibition of 1851. Some years before this,
Henry Pape had made experiments in cross stringing, with the intention
to economize space. His ideas were adopted and continued by the London
maker, Tomkisson, who acquired Pape's rights for this country. The iron
framing in a single casting is a distinctly American invention, but
proceeding, like the overstringing, from a German by birth. The iron
casting for a square piano of the American Alpheus Babcock, may have
suggested Meyer's invention; it was, however, Conrad Meyer, who,
in Philadelphia, and in 1833, first made a real iron frame square
pianoforte. The gradual improvement upon Meyer's invention, during the
next quarter of a century, are first due to the Chickerings and then
the Steinways. The former overstrung an iron frame square, the latter
overstrung an iron frame grand, the culmination of this special make
since of general American and German adoption. It will be seen that, in
the American make, the number of tension bars has not been reduced, but
a diagonal support has, to a certain extent, been accepted and adopted.
The sound-board bridges are much further apart than obtains with the
English grand, or with the Anglo-French Erard. The advocates of the
American principle point out the advantages of a more open scale, and
more equal pressure on the sound-board. They likewise claim, as a gain,
a greater tension. I have no quite accurate information as to what
the sum of the tension may be of an American grand piano. One of
Broadwood's, twenty years ago, had a strain of sixteen and one-half
tons; the strain has somewhat increased since then. The remarkable
improvement in wiredrawing which has been made in Birmingham, Vienna,
and Nuremberg, of late years, has rendered these high tensions of far
easier attainment than they would have been earlier in the century.
[Illustration: FIG. 3.--BROADWOOD.]
For me the great drawback to one unbroken casting is in the vibratory
ring inseparable from any metal system that has no resting places to
break the uniform reverberation proceeding from metal. We have already
seen how readily the strings take up vibrations which are only pure
when, as secondary vibrations, they arise by reversion from the
sound-board. If vibration arises from imperfectly elastic wood, we hear
a dull wooden thud; if it comes from metal, partials of the strings are
re-enforced that should be left undeveloped, which give a false ring to
the tone, and an after ring that blurs _legato_ playing, and nullifies
the _staccato_. I do not pose as the obstinate advocate of parallel
stringing, although I believe that, so far, it is the most logical and
the best; the best, because the left hand division of the instrument is
free from a preponderance of dissonant high partials, and we hear the
light and shade, as well as the cantabile of that part, better than by
any overstrung scale that I have yet met with. I will not, I say, offer
a final judgment, because there may come a possible improvement of the
overstrung or double diagonal scale, if that scale is persisted in, and
inventive power is brought to bear upon it, as valuable as that which
has carried the idea thus far.
[Illustration: FIG. 4.--BROADWOOD.]
I have not had time to refer other than incidentally to the square
pianoforte, which has become obsolete. I must, however, give a separate
historical sketch of the upright pianoforte, which has risen into
great favor and importance, and in its development--I may say its
invention--belongs to this present 19th century. The form has always
recommended the upright on the score of convenience, but it was long
before it occurred to any one to make an upright key board instrument
reasonably. Upright harpsichords were made nearly four hundred years
ago. A very interesting 17th century one was sold lately in the
great Hamilton sale--sold, I grieve to say, to be demolished for its
paintings. But all vertical harpsichords were horizontal ones, put on
end on a frame; and the book-case upright grand pianos, which, from the
eighties, were made right into the present century, were horizontal
grands similarly elevated. The real inventor of the upright piano, in
its modern and useful form, was that remarkable Englishman, John Isaac
Hawkins, the inventor of ever-pointed pencils; a civil engineer, poet,
preacher, and phrenologist. While living at Border Town, New Jersey, U.
S. A., Hawkins invented the cottage piano--portable grand, he called
it--and his father, Isaac Hawkins, to whom, in Grove's
"Dictionary,"
I have attributed the invention, took out, in the year 1800[1], the
English patent for it. I can fortunately show you one of these original
pianinos, which belongs to Messrs. Broadwood. It is a wreck, but you
will discern that the strings descend nearly to the floor, while the
key-board, a folding one, is raised to a convenient height between the
floor and the upper extremities of the strings. Hawkins had an iron
frame and tension rods, within which the belly was entirely suspended;
a system of tuning by mechanical screws; an upper metal bridge; equal
length of string throughout; metal supports to the action, in which a
later help to the repetition was anticipated--the whole instrument being
independent of the case. Hawkins tried also a lately revived notion of
coiled strings in the bass, doing away with tension. Lastly, he sought
for a _sostinente_, which has been tried for from generation to
generation, always to fail, but which, even if it does succeed, will
produce another kind of instrument, not a pianoforte, which owes so much
of its charm to its unsatiating, evanescent tone.
[Transcribers note 1: 3rd digit illegible, best guess from context.]
[Illustration: Fig. 5.--MEYER.]
Once introduced into Hawkins' native country, England, the rise of the
upright piano became rapid. In 1807, at latest, the now obsolete high
cabinet piano was fairly launched. In 1811, Wornum produced a diagonal.
In 1813, a vertical cottage piano. Previously, essays had been made to
place a square piano upright on its side, for which Southwell, an Irish
maker, took out a patent in 1798; and I can fortunately show you one of
these instruments, kindly lent for this paper by Mr. Walter Gilbey. I
have also been favored with photographs by Mr. Simpson, of Dundee, of a
precisely similar upright square. I show his drawing of the action--the
Southwell sticker action. W. F. Collard patented another similar
experiment in 1811. At first the sticker action with a leather hinge
to the hammer-butt was the favorite, and lasted long in England. The
French, however, were quick to recognize the greater merit of Wornum's
principle of the crank action, which, and strangely enough through
France, has become very generally adopted in England, as well as Germany
and elsewhere. I regret I am unable to show a model of the original
crank action, but Mr. Wornum has favored me with an early engraving of
his father's invention. It was originally intended for the high cabinet
piano, and a patent was taken out for it in 1826. But many difficulties
arose, and it was not until 1829 that the first cabinet was so finished.
Wornum then applied it in the same year to the small upright--the
piccolo, as he called it--the principle of which was, through Pleyel and
Pape, adopted for the piano manufacture in Paris. Within the last few
years we have seen the general introduction of Bord's little pianino,
called in England, ungrammatically enough, pianette, in the action of
which that maker cleverly introduced the spiral spring. And, also, of
those large German overstrung and double overstrung upright pianos,
which, originally derived from America, have so far met with favor and
sale in this country as to induce some English makers, at least in the
principle, to copy them.
[Illustration: Fig. 6.--STEINWAY.]
I will conclude this historical sketch by remarking, and as a remarkable
historical fact, that the English firms which in the last century
introduced the pianoforte, to whose honorable exertions we owe a debt of
gratitude, with the exception of Stodart, still exist, and are in the
front rank of the world's competition. I will name Broadwood (whose flag
I serve under), Collard (in the last years of the last century known
as Longman and Clementi), Erard (the London branch), Kirkman, and, I
believe, Wornum. On the Continent there is the Paris Erard house; and,
at Vienna, Streicher, a firm which descends directly from Stein of
Augsburg, the inventor of the German pianoforte, the favorite of Mozart,
and of Beethoven in his virtuoso period, for he used Stein's grands at
Bonn. Distinguished names have risen in the present century, some of
whom have been referred to. To those already mentioned, I should like
to add the names of Hopkinson and Brinsmead in England; Bechstein and
Bluthner in Germany; all well-known makers.
| | 